Exhibition of Eleven (Leningrad, 1972)

Prompt: How does Exhibition of Eleven (Leningrad, 1972) explain its Exhibition?

The Exhibition of eleven Leningrad artists (called later as the exhibition of "Eleven") was opened October 24, 1972. It showed the creation of the "left wing" of the Leningrad Union of Soviet Artists in concentration. That is why it was of such interest of spectators, critics and artists of Leningrad.Opinions and reviews were very polarized, from the admiration of the critic to a full rejection. Apologetes of the exhibition and creation of these artists contrasted with painting of socialistic realism and academy tradition. On the contrary critics were pointed to the entrainment of the studies and the formal tasks in the process of creation. They declared that couldn`t find the picture of traditional Russian art.

Valentina Ivanovna Rakhina
Category:1972 in the Soviet Union
Valery Vatenin
German Yegoshin
"Quince and a Teapot"
Leonid Tkachenko
Victor Teterin
Victor K. Teterin
German Pavlovich Yegoshin
Victor Kuzmich Teterin
Private collection
Zaven Petrosovich Arshakuny
Vitaly Tulenev
Evgenia Petrovna Antipova
Vitaly Ivanovich Tulenev
Evgenia Antipova
Boris Shamanov
Konstantin Simun
Saint Petersburg Union of Artists
Valery Vladimirovich Vatenin
Category:Art exhibitions in Russia
Leonid Anisimovich Tkachenko (b. 1927)
Valentina Rakhina
Yaroslav Krestovsky
Fine Art of Leningrad
Quince and Teapot
Leonid Tkachenko (artist)
Zaven Arshakuny
Category:1972 in art
Category:Socialist realism
Yaroslav Igorevich Krestovsky
1972 in fine arts of the Soviet Union
Quince and Teapot (painting)
Socialist realism
Leningrad School of Painting
Boris Ivanovich Shamanov
Konstantin Mikhailovich Simun
Russia


Exhibition of Eleven (Leningrad, 1972)

Prompt: In Exhibition of Eleven (Leningrad, 1972), how is the Exhibition discussed?

The Exhibition of eleven Leningrad artists (called later as the exhibition of "Eleven") was opened October 24, 1972. It showed the creation of the "left wing" of the Leningrad Union of Soviet Artists in concentration. That is why it was of such interest of spectators, critics and artists of Leningrad.Opinions and reviews were very polarized, from the admiration of the critic to a full rejection. Apologetes of the exhibition and creation of these artists contrasted with painting of socialistic realism and academy tradition. On the contrary critics were pointed to the entrainment of the studies and the formal tasks in the process of creation. They declared that couldn`t find the picture of traditional Russian art.

Valentina Ivanovna Rakhina
Category:1972 in the Soviet Union
Valery Vatenin
German Yegoshin
"Quince and a Teapot"
Leonid Tkachenko
Victor Teterin
Victor K. Teterin
German Pavlovich Yegoshin
Victor Kuzmich Teterin
Private collection
Zaven Petrosovich Arshakuny
Vitaly Tulenev
Evgenia Petrovna Antipova
Vitaly Ivanovich Tulenev
Evgenia Antipova
Boris Shamanov
Konstantin Simun
Saint Petersburg Union of Artists
Valery Vladimirovich Vatenin
Category:Art exhibitions in Russia
Leonid Anisimovich Tkachenko (b. 1927)
Valentina Rakhina
Yaroslav Krestovsky
Fine Art of Leningrad
Quince and Teapot
Leonid Tkachenko (artist)
Zaven Arshakuny
Category:1972 in art
Category:Socialist realism
Yaroslav Igorevich Krestovsky
1972 in fine arts of the Soviet Union
Quince and Teapot (painting)
Socialist realism
Leningrad School of Painting
Boris Ivanovich Shamanov
Konstantin Mikhailovich Simun
Russia


Exhibition of Eleven (Leningrad, 1972)

Prompt: Focus on Exhibition of Eleven (Leningrad, 1972) and explain the Group of "Eleven".

The name "Eleven" was fixed after this exhibition. Even though this group existed only for two exhibitions, it went down in history. The second exhibition was in 1976 at the same place and just 9 artists of the original 11 took part in it. In the future they demonstrated their art works in solo or in the big common exhibitions with two or three participants in Moscow and Leningrad. In 1990 the members of "Eleven" engaged in the common exhibition of 26 Leningrad and Moscow artists in Central Exhibition Hall "Manezh" in Saint-Petersburg.In 1998 the exhibition of art works of group "Eleven" was in the Nekrasov's Memorial Museum in Saint-Petersburg. There were represented art-pieces from the private collections. In 2012 the exhibition of 200 art works of the group "Eleven" and their surroundings from the private collections was opened in K-Gallery (Saint-Petersburg). It was devoted to the 40th anniversary of the Exhibition of "Eleven" in Okhta in 1972.

Valentina Ivanovna Rakhina
Category:1972 in the Soviet Union
Valery Vatenin
German Yegoshin
"Quince and a Teapot"
Leonid Tkachenko
Victor Teterin
Victor K. Teterin
German Pavlovich Yegoshin
Victor Kuzmich Teterin
Private collection
Zaven Petrosovich Arshakuny
Vitaly Tulenev
Evgenia Petrovna Antipova
Vitaly Ivanovich Tulenev
Evgenia Antipova
Boris Shamanov
Konstantin Simun
Saint Petersburg Union of Artists
Valery Vladimirovich Vatenin
Category:Art exhibitions in Russia
Leonid Anisimovich Tkachenko (b. 1927)
Valentina Rakhina
Yaroslav Krestovsky
Fine Art of Leningrad
Quince and Teapot
Leonid Tkachenko (artist)
Zaven Arshakuny
Category:1972 in art
Category:Socialist realism
Yaroslav Igorevich Krestovsky
1972 in fine arts of the Soviet Union
Quince and Teapot (painting)
Socialist realism
Leningrad School of Painting
Boris Ivanovich Shamanov
Konstantin Mikhailovich Simun
Russia


Exhibition of Eleven (Leningrad, 1972)

Prompt: Explain the Group of "Eleven" of this artwork, Exhibition of Eleven (Leningrad, 1972).

The name "Eleven" was fixed after this exhibition. Even though this group existed only for two exhibitions, it went down in history. The second exhibition was in 1976 at the same place and just 9 artists of the original 11 took part in it. In the future they demonstrated their art works in solo or in the big common exhibitions with two or three participants in Moscow and Leningrad. In 1990 the members of "Eleven" engaged in the common exhibition of 26 Leningrad and Moscow artists in Central Exhibition Hall "Manezh" in Saint-Petersburg.In 1998 the exhibition of art works of group "Eleven" was in the Nekrasov's Memorial Museum in Saint-Petersburg. There were represented art-pieces from the private collections. In 2012 the exhibition of 200 art works of the group "Eleven" and their surroundings from the private collections was opened in K-Gallery (Saint-Petersburg). It was devoted to the 40th anniversary of the Exhibition of "Eleven" in Okhta in 1972.

Valentina Ivanovna Rakhina
Category:1972 in the Soviet Union
Valery Vatenin
German Yegoshin
"Quince and a Teapot"
Leonid Tkachenko
Victor Teterin
Victor K. Teterin
German Pavlovich Yegoshin
Victor Kuzmich Teterin
Private collection
Zaven Petrosovich Arshakuny
Vitaly Tulenev
Evgenia Petrovna Antipova
Vitaly Ivanovich Tulenev
Evgenia Antipova
Boris Shamanov
Konstantin Simun
Saint Petersburg Union of Artists
Valery Vladimirovich Vatenin
Category:Art exhibitions in Russia
Leonid Anisimovich Tkachenko (b. 1927)
Valentina Rakhina
Yaroslav Krestovsky
Fine Art of Leningrad
Quince and Teapot
Leonid Tkachenko (artist)
Zaven Arshakuny
Category:1972 in art
Category:Socialist realism
Yaroslav Igorevich Krestovsky
1972 in fine arts of the Soviet Union
Quince and Teapot (painting)
Socialist realism
Leningrad School of Painting
Boris Ivanovich Shamanov
Konstantin Mikhailovich Simun
Russia


Exhibition of Eleven (Leningrad, 1972)

Prompt: How does Exhibition of Eleven (Leningrad, 1972) explain its Group of "Eleven"?

The name "Eleven" was fixed after this exhibition. Even though this group existed only for two exhibitions, it went down in history. The second exhibition was in 1976 at the same place and just 9 artists of the original 11 took part in it. In the future they demonstrated their art works in solo or in the big common exhibitions with two or three participants in Moscow and Leningrad. In 1990 the members of "Eleven" engaged in the common exhibition of 26 Leningrad and Moscow artists in Central Exhibition Hall "Manezh" in Saint-Petersburg.In 1998 the exhibition of art works of group "Eleven" was in the Nekrasov's Memorial Museum in Saint-Petersburg. There were represented art-pieces from the private collections. In 2012 the exhibition of 200 art works of the group "Eleven" and their surroundings from the private collections was opened in K-Gallery (Saint-Petersburg). It was devoted to the 40th anniversary of the Exhibition of "Eleven" in Okhta in 1972.

Valentina Ivanovna Rakhina
Category:1972 in the Soviet Union
Valery Vatenin
German Yegoshin
"Quince and a Teapot"
Leonid Tkachenko
Victor Teterin
Victor K. Teterin
German Pavlovich Yegoshin
Victor Kuzmich Teterin
Private collection
Zaven Petrosovich Arshakuny
Vitaly Tulenev
Evgenia Petrovna Antipova
Vitaly Ivanovich Tulenev
Evgenia Antipova
Boris Shamanov
Konstantin Simun
Saint Petersburg Union of Artists
Valery Vladimirovich Vatenin
Category:Art exhibitions in Russia
Leonid Anisimovich Tkachenko (b. 1927)
Valentina Rakhina
Yaroslav Krestovsky
Fine Art of Leningrad
Quince and Teapot
Leonid Tkachenko (artist)
Zaven Arshakuny
Category:1972 in art
Category:Socialist realism
Yaroslav Igorevich Krestovsky
1972 in fine arts of the Soviet Union
Quince and Teapot (painting)
Socialist realism
Leningrad School of Painting
Boris Ivanovich Shamanov
Konstantin Mikhailovich Simun
Russia


Exhibition of Eleven (Leningrad, 1972)

Prompt: In Exhibition of Eleven (Leningrad, 1972), how is the Group of "Eleven" discussed?

The name "Eleven" was fixed after this exhibition. Even though this group existed only for two exhibitions, it went down in history. The second exhibition was in 1976 at the same place and just 9 artists of the original 11 took part in it. In the future they demonstrated their art works in solo or in the big common exhibitions with two or three participants in Moscow and Leningrad. In 1990 the members of "Eleven" engaged in the common exhibition of 26 Leningrad and Moscow artists in Central Exhibition Hall "Manezh" in Saint-Petersburg.In 1998 the exhibition of art works of group "Eleven" was in the Nekrasov's Memorial Museum in Saint-Petersburg. There were represented art-pieces from the private collections. In 2012 the exhibition of 200 art works of the group "Eleven" and their surroundings from the private collections was opened in K-Gallery (Saint-Petersburg). It was devoted to the 40th anniversary of the Exhibition of "Eleven" in Okhta in 1972.

Valentina Ivanovna Rakhina
Category:1972 in the Soviet Union
Valery Vatenin
German Yegoshin
"Quince and a Teapot"
Leonid Tkachenko
Victor Teterin
Victor K. Teterin
German Pavlovich Yegoshin
Victor Kuzmich Teterin
Private collection
Zaven Petrosovich Arshakuny
Vitaly Tulenev
Evgenia Petrovna Antipova
Vitaly Ivanovich Tulenev
Evgenia Antipova
Boris Shamanov
Konstantin Simun
Saint Petersburg Union of Artists
Valery Vladimirovich Vatenin
Category:Art exhibitions in Russia
Leonid Anisimovich Tkachenko (b. 1927)
Valentina Rakhina
Yaroslav Krestovsky
Fine Art of Leningrad
Quince and Teapot
Leonid Tkachenko (artist)
Zaven Arshakuny
Category:1972 in art
Category:Socialist realism
Yaroslav Igorevich Krestovsky
1972 in fine arts of the Soviet Union
Quince and Teapot (painting)
Socialist realism
Leningrad School of Painting
Boris Ivanovich Shamanov
Konstantin Mikhailovich Simun
Russia


The Dance of Life (Munch)

Prompt: Focus on The Dance of Life (Munch) and explain the abstract.

The Dance of Life or Life's Dance is an 1899–1900 expressionist painting by Edvard Munch, now in the National Museum of Art in Norway. The arch of life spans from white young virgin in white over the pair with red wife to an old widow in black. The painting was an important work in Munch's project The Frieze of Life. In creating the painting, Munch was allegedly inspired by the 1898 Helge Rode play Dansen gaar, of which Munch kept a copy in his personal library. This painting clearly reflects Munch's ambivalence towards the women in his life. [1]Olaf Schou purchased the painting in Oslo in 1910, immediately presenting it to the National Gallery.

National Museum of Art, Architecture and Design

Category:Paintings in the National Gallery (Norway)


The Dance of Life (Munch)

Prompt: Explain the abstract of this artwork, The Dance of Life (Munch).

The Dance of Life or Life's Dance is an 1899–1900 expressionist painting by Edvard Munch, now in the National Museum of Art in Norway. The arch of life spans from white young virgin in white over the pair with red wife to an old widow in black. The painting was an important work in Munch's project The Frieze of Life. In creating the painting, Munch was allegedly inspired by the 1898 Helge Rode play Dansen gaar, of which Munch kept a copy in his personal library. This painting clearly reflects Munch's ambivalence towards the women in his life. [1]Olaf Schou purchased the painting in Oslo in 1910, immediately presenting it to the National Gallery.

National Museum of Art, Architecture and Design

Category:Paintings in the National Gallery (Norway)


The Dance of Life (Munch)

Prompt: How does The Dance of Life (Munch) explain its abstract?

The Dance of Life or Life's Dance is an 1899–1900 expressionist painting by Edvard Munch, now in the National Museum of Art in Norway. The arch of life spans from white young virgin in white over the pair with red wife to an old widow in black. The painting was an important work in Munch's project The Frieze of Life. In creating the painting, Munch was allegedly inspired by the 1898 Helge Rode play Dansen gaar, of which Munch kept a copy in his personal library. This painting clearly reflects Munch's ambivalence towards the women in his life. [1]Olaf Schou purchased the painting in Oslo in 1910, immediately presenting it to the National Gallery.

National Museum of Art, Architecture and Design

Category:Paintings in the National Gallery (Norway)


The Dance of Life (Munch)

Prompt: In The Dance of Life (Munch), how is the abstract discussed?

The Dance of Life or Life's Dance is an 1899–1900 expressionist painting by Edvard Munch, now in the National Museum of Art in Norway. The arch of life spans from white young virgin in white over the pair with red wife to an old widow in black. The painting was an important work in Munch's project The Frieze of Life. In creating the painting, Munch was allegedly inspired by the 1898 Helge Rode play Dansen gaar, of which Munch kept a copy in his personal library. This painting clearly reflects Munch's ambivalence towards the women in his life. [1]Olaf Schou purchased the painting in Oslo in 1910, immediately presenting it to the National Gallery.

National Museum of Art, Architecture and Design

Category:Paintings in the National Gallery (Norway)


Untitled 153

Prompt: Focus on Untitled 153 and explain the abstract.

Untitled #153 is a color photograph made by American visual artist Cindy Sherman in 1985. In 2010, a print was auctioned for $2.7 million, making it one of the most expensive photographs ever sold at that time.

Category:Photographs in the Museum of Modern Art (New York City)


Untitled 153

Prompt: Explain the abstract of this artwork, Untitled 153.

Untitled #153 is a color photograph made by American visual artist Cindy Sherman in 1985. In 2010, a print was auctioned for $2.7 million, making it one of the most expensive photographs ever sold at that time.

Category:Photographs in the Museum of Modern Art (New York City)


Untitled 153

Prompt: How does Untitled 153 explain its abstract?

Untitled #153 is a color photograph made by American visual artist Cindy Sherman in 1985. In 2010, a print was auctioned for $2.7 million, making it one of the most expensive photographs ever sold at that time.

Category:Photographs in the Museum of Modern Art (New York City)


Untitled 153

Prompt: In Untitled 153, how is the abstract discussed?

Untitled #153 is a color photograph made by American visual artist Cindy Sherman in 1985. In 2010, a print was auctioned for $2.7 million, making it one of the most expensive photographs ever sold at that time.

Category:Photographs in the Museum of Modern Art (New York City)


Untitled 153

Prompt: Focus on Untitled 153 and explain the History and description.

The picture resulted from an invitation of the magazine Vanity Fair to create a series of photographs inspired by fairy tales. The photographs would never be published by the magazine but are amongst some of her best and more representative work. They tend to be more dark and grotesque than the sources where it is supposed to have taken inspiration, and aren't directly inspired by any specific fairy tale. The current picture is, like its usual in the artist, a self-portrait, depicting a woman, lying in the ground as a corpse, covered with mud in what appears to be a natural environment.Eva Respini said of the picture: “Even when Sherman is in the photographs, she appears doll-like and artificial, as in Untitled #153. Reminiscent of a crime scene photo, the picture shows a dead woman lying on the ground and covered in dirt, her glassy eyes opened wide, as if shocked by her own violent demise. Unlike a police photograph, however, this larger-than-life glossy picture is full of seductive detail, with rich descriptions of the colors and textures of the gravel background, the woman’s mussed hair, and her waxy face."

Category:Photographs in the Museum of Modern Art (New York City)


Untitled 153

Prompt: Explain the History and description of this artwork, Untitled 153.

The picture resulted from an invitation of the magazine Vanity Fair to create a series of photographs inspired by fairy tales. The photographs would never be published by the magazine but are amongst some of her best and more representative work. They tend to be more dark and grotesque than the sources where it is supposed to have taken inspiration, and aren't directly inspired by any specific fairy tale. The current picture is, like its usual in the artist, a self-portrait, depicting a woman, lying in the ground as a corpse, covered with mud in what appears to be a natural environment.Eva Respini said of the picture: “Even when Sherman is in the photographs, she appears doll-like and artificial, as in Untitled #153. Reminiscent of a crime scene photo, the picture shows a dead woman lying on the ground and covered in dirt, her glassy eyes opened wide, as if shocked by her own violent demise. Unlike a police photograph, however, this larger-than-life glossy picture is full of seductive detail, with rich descriptions of the colors and textures of the gravel background, the woman’s mussed hair, and her waxy face."

Category:Photographs in the Museum of Modern Art (New York City)


Untitled 153

Prompt: How does Untitled 153 explain its History and description?

The picture resulted from an invitation of the magazine Vanity Fair to create a series of photographs inspired by fairy tales. The photographs would never be published by the magazine but are amongst some of her best and more representative work. They tend to be more dark and grotesque than the sources where it is supposed to have taken inspiration, and aren't directly inspired by any specific fairy tale. The current picture is, like its usual in the artist, a self-portrait, depicting a woman, lying in the ground as a corpse, covered with mud in what appears to be a natural environment.Eva Respini said of the picture: “Even when Sherman is in the photographs, she appears doll-like and artificial, as in Untitled #153. Reminiscent of a crime scene photo, the picture shows a dead woman lying on the ground and covered in dirt, her glassy eyes opened wide, as if shocked by her own violent demise. Unlike a police photograph, however, this larger-than-life glossy picture is full of seductive detail, with rich descriptions of the colors and textures of the gravel background, the woman’s mussed hair, and her waxy face."

Category:Photographs in the Museum of Modern Art (New York City)


Untitled 153

Prompt: In Untitled 153, how is the History and description discussed?

The picture resulted from an invitation of the magazine Vanity Fair to create a series of photographs inspired by fairy tales. The photographs would never be published by the magazine but are amongst some of her best and more representative work. They tend to be more dark and grotesque than the sources where it is supposed to have taken inspiration, and aren't directly inspired by any specific fairy tale. The current picture is, like its usual in the artist, a self-portrait, depicting a woman, lying in the ground as a corpse, covered with mud in what appears to be a natural environment.Eva Respini said of the picture: “Even when Sherman is in the photographs, she appears doll-like and artificial, as in Untitled #153. Reminiscent of a crime scene photo, the picture shows a dead woman lying on the ground and covered in dirt, her glassy eyes opened wide, as if shocked by her own violent demise. Unlike a police photograph, however, this larger-than-life glossy picture is full of seductive detail, with rich descriptions of the colors and textures of the gravel background, the woman’s mussed hair, and her waxy face."

Category:Photographs in the Museum of Modern Art (New York City)


Untitled 153

Prompt: Focus on Untitled 153 and explain the Public collections.

There are prints of the photograph at the Museum of Modern Art, New York, the Museum of Contemporary Art, Chicago, the Musée d'art contemporain de Montréal, The Israel Museum, Jerusalem, and the Museo Rufino Tamayo, Mexico City.

Category:Photographs in the Museum of Modern Art (New York City)


Untitled 153

Prompt: Explain the Public collections of this artwork, Untitled 153.

There are prints of the photograph at the Museum of Modern Art, New York, the Museum of Contemporary Art, Chicago, the Musée d'art contemporain de Montréal, The Israel Museum, Jerusalem, and the Museo Rufino Tamayo, Mexico City.

Category:Photographs in the Museum of Modern Art (New York City)


Untitled 153

Prompt: How does Untitled 153 explain its Public collections?

There are prints of the photograph at the Museum of Modern Art, New York, the Museum of Contemporary Art, Chicago, the Musée d'art contemporain de Montréal, The Israel Museum, Jerusalem, and the Museo Rufino Tamayo, Mexico City.

Category:Photographs in the Museum of Modern Art (New York City)


Untitled 153

Prompt: In Untitled 153, how is the Public collections discussed?

There are prints of the photograph at the Museum of Modern Art, New York, the Museum of Contemporary Art, Chicago, the Musée d'art contemporain de Montréal, The Israel Museum, Jerusalem, and the Museo Rufino Tamayo, Mexico City.

Category:Photographs in the Museum of Modern Art (New York City)


Aquis Submersus

Prompt: Focus on Aquis Submersus and explain the abstract.

Aquis Submersus (Latin for Drowned in the Waters) is a painting by the German dadaist and surrealist Max Ernst created in 1919. Influenced by the Italian metaphysical art it is one of Ernst's earliest works showing surrealistic accents. It currently resides at the Städel Museum in Frankfurt, Germany.The painting depicts a swimming pool surrounded by buildings. The sense of dimension is unclear. The features of the buildings appear to be hand-drawn. The buildings leave shadows against the sky like a wall. Hanging in the sky is a clock that reflects on the water as a moon. In the pool, the picture shows a possibly female or childish body in an upside-down position with only the waist and legs above the water level. The person appears to be diving or is drowning. In the foreground is an armless statue-like figure that appears to have been made out of clay, throwing a shadow in the direction of the pool, similar to another shadow originating from outside the picture. The person looks away from the pool and bears a handlebar mustache resembling that of Ernst's father, but also has features which could be interpreted as female.The painting carries the same name as a famous novella Aquis submersus by Theodor Storm, published in 1876, which influenced Ernst creating his painting.

Städelsches Kunstinstitut und Städtische Galerie


Aquis Submersus

Prompt: Explain the abstract of this artwork, Aquis Submersus.

Aquis Submersus (Latin for Drowned in the Waters) is a painting by the German dadaist and surrealist Max Ernst created in 1919. Influenced by the Italian metaphysical art it is one of Ernst's earliest works showing surrealistic accents. It currently resides at the Städel Museum in Frankfurt, Germany.The painting depicts a swimming pool surrounded by buildings. The sense of dimension is unclear. The features of the buildings appear to be hand-drawn. The buildings leave shadows against the sky like a wall. Hanging in the sky is a clock that reflects on the water as a moon. In the pool, the picture shows a possibly female or childish body in an upside-down position with only the waist and legs above the water level. The person appears to be diving or is drowning. In the foreground is an armless statue-like figure that appears to have been made out of clay, throwing a shadow in the direction of the pool, similar to another shadow originating from outside the picture. The person looks away from the pool and bears a handlebar mustache resembling that of Ernst's father, but also has features which could be interpreted as female.The painting carries the same name as a famous novella Aquis submersus by Theodor Storm, published in 1876, which influenced Ernst creating his painting.

Städelsches Kunstinstitut und Städtische Galerie


Aquis Submersus

Prompt: How does Aquis Submersus explain its abstract?

Aquis Submersus (Latin for Drowned in the Waters) is a painting by the German dadaist and surrealist Max Ernst created in 1919. Influenced by the Italian metaphysical art it is one of Ernst's earliest works showing surrealistic accents. It currently resides at the Städel Museum in Frankfurt, Germany.The painting depicts a swimming pool surrounded by buildings. The sense of dimension is unclear. The features of the buildings appear to be hand-drawn. The buildings leave shadows against the sky like a wall. Hanging in the sky is a clock that reflects on the water as a moon. In the pool, the picture shows a possibly female or childish body in an upside-down position with only the waist and legs above the water level. The person appears to be diving or is drowning. In the foreground is an armless statue-like figure that appears to have been made out of clay, throwing a shadow in the direction of the pool, similar to another shadow originating from outside the picture. The person looks away from the pool and bears a handlebar mustache resembling that of Ernst's father, but also has features which could be interpreted as female.The painting carries the same name as a famous novella Aquis submersus by Theodor Storm, published in 1876, which influenced Ernst creating his painting.

Städelsches Kunstinstitut und Städtische Galerie


Aquis Submersus

Prompt: In Aquis Submersus, how is the abstract discussed?

Aquis Submersus (Latin for Drowned in the Waters) is a painting by the German dadaist and surrealist Max Ernst created in 1919. Influenced by the Italian metaphysical art it is one of Ernst's earliest works showing surrealistic accents. It currently resides at the Städel Museum in Frankfurt, Germany.The painting depicts a swimming pool surrounded by buildings. The sense of dimension is unclear. The features of the buildings appear to be hand-drawn. The buildings leave shadows against the sky like a wall. Hanging in the sky is a clock that reflects on the water as a moon. In the pool, the picture shows a possibly female or childish body in an upside-down position with only the waist and legs above the water level. The person appears to be diving or is drowning. In the foreground is an armless statue-like figure that appears to have been made out of clay, throwing a shadow in the direction of the pool, similar to another shadow originating from outside the picture. The person looks away from the pool and bears a handlebar mustache resembling that of Ernst's father, but also has features which could be interpreted as female.The painting carries the same name as a famous novella Aquis submersus by Theodor Storm, published in 1876, which influenced Ernst creating his painting.

Städelsches Kunstinstitut und Städtische Galerie


Portrait Monument

Prompt: Focus on Portrait Monument and explain the abstract.

Portrait Monument is a 1920 marble sculpture by Adelaide Johnson, installed in the U.S. Capitol's rotunda, in Washington, D.C. The artwork was dedicated in 1921 and features portrait busts of Elizabeth Cady Stanton, Susan B. Anthony, and Lucretia Mott.

List of monuments and memorials to women's suffrage

Category:1921 establishments in Washington, D.C.

Category:Monuments and memorials to women's suffrage in the United States

Art in the women's suffrage movement in the United States

Category:Cultural depictions of Susan B. Anthony

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


Portrait Monument

Prompt: Explain the abstract of this artwork, Portrait Monument.

Portrait Monument is a 1920 marble sculpture by Adelaide Johnson, installed in the U.S. Capitol's rotunda, in Washington, D.C. The artwork was dedicated in 1921 and features portrait busts of Elizabeth Cady Stanton, Susan B. Anthony, and Lucretia Mott.

List of monuments and memorials to women's suffrage

Category:1921 establishments in Washington, D.C.

Category:Monuments and memorials to women's suffrage in the United States

Art in the women's suffrage movement in the United States

Category:Cultural depictions of Susan B. Anthony

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


Portrait Monument

Prompt: How does Portrait Monument explain its abstract?

Portrait Monument is a 1920 marble sculpture by Adelaide Johnson, installed in the U.S. Capitol's rotunda, in Washington, D.C. The artwork was dedicated in 1921 and features portrait busts of Elizabeth Cady Stanton, Susan B. Anthony, and Lucretia Mott.

List of monuments and memorials to women's suffrage

Category:1921 establishments in Washington, D.C.

Category:Monuments and memorials to women's suffrage in the United States

Art in the women's suffrage movement in the United States

Category:Cultural depictions of Susan B. Anthony

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


Portrait Monument

Prompt: In Portrait Monument, how is the abstract discussed?

Portrait Monument is a 1920 marble sculpture by Adelaide Johnson, installed in the U.S. Capitol's rotunda, in Washington, D.C. The artwork was dedicated in 1921 and features portrait busts of Elizabeth Cady Stanton, Susan B. Anthony, and Lucretia Mott.

List of monuments and memorials to women's suffrage

Category:1921 establishments in Washington, D.C.

Category:Monuments and memorials to women's suffrage in the United States

Art in the women's suffrage movement in the United States

Category:Cultural depictions of Susan B. Anthony

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


Prompt: Focus on Portrait of Cardinal Cristoforo Madruzzo and explain the abstract.

Portrait of Cardinal Cristoforo Madruzzo is an oil painting by Titian, signed and dated 1552, which hangs in the São Paulo Museum of Art.

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Prompt: Explain the abstract of this artwork, Portrait of Cardinal Cristoforo Madruzzo.

Portrait of Cardinal Cristoforo Madruzzo is an oil painting by Titian, signed and dated 1552, which hangs in the São Paulo Museum of Art.

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Prompt: How does Portrait of Cardinal Cristoforo Madruzzo explain its abstract?

Portrait of Cardinal Cristoforo Madruzzo is an oil painting by Titian, signed and dated 1552, which hangs in the São Paulo Museum of Art.

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Prompt: In Portrait of Cardinal Cristoforo Madruzzo, how is the abstract discussed?

Portrait of Cardinal Cristoforo Madruzzo is an oil painting by Titian, signed and dated 1552, which hangs in the São Paulo Museum of Art.

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Prompt: Focus on Portrait of Cardinal Cristoforo Madruzzo and explain the Description.

The youthful prelate, Cristoforo Madruzzo, Prince Bishop of Trent, and afterwards Cardinal, is dressed entirely in black silk, and turns half round to the front as he walks, while he lifts with his hand a red curtain, behind which is seen his writing-table covered with a green cloth.

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Prompt: Explain the Description of this artwork, Portrait of Cardinal Cristoforo Madruzzo.

The youthful prelate, Cristoforo Madruzzo, Prince Bishop of Trent, and afterwards Cardinal, is dressed entirely in black silk, and turns half round to the front as he walks, while he lifts with his hand a red curtain, behind which is seen his writing-table covered with a green cloth.

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Prompt: How does Portrait of Cardinal Cristoforo Madruzzo explain its Description?

The youthful prelate, Cristoforo Madruzzo, Prince Bishop of Trent, and afterwards Cardinal, is dressed entirely in black silk, and turns half round to the front as he walks, while he lifts with his hand a red curtain, behind which is seen his writing-table covered with a green cloth.

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Prompt: In Portrait of Cardinal Cristoforo Madruzzo, how is the Description discussed?

The youthful prelate, Cristoforo Madruzzo, Prince Bishop of Trent, and afterwards Cardinal, is dressed entirely in black silk, and turns half round to the front as he walks, while he lifts with his hand a red curtain, behind which is seen his writing-table covered with a green cloth.

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Prompt: Focus on Portrait of Cardinal Cristoforo Madruzzo and explain the Analysis.

This is one of the few examples of a full-length portrait by Titian's hand. Giovanni Morelli and Charles Ricketts attributed it erroneously to Moroni. The picture affected Ricketts (in reproduction: he had not seen the original) as a late picture by Moroni; he thought it gauche in painting (noting the "clumsy short thumbs") and design. This was also the impression of Morelli, basing his opinion upon a photograph.Vasari mentions this portrait just after the one of the Ambassador Mendozza, done in 1541; and according to Georg Gronau his indication is confirmed by a letter dated July 1642, in which the portrait is mentioned as finished. Gronau therefore thought it was produced in the first months of the year 1542. An article in the Gazette des Beaux-Arts corrected the date to 1552. The work is signed and dated, "1.5.5.2. / TITIAN FECIT".

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Prompt: Explain the Analysis of this artwork, Portrait of Cardinal Cristoforo Madruzzo.

This is one of the few examples of a full-length portrait by Titian's hand. Giovanni Morelli and Charles Ricketts attributed it erroneously to Moroni. The picture affected Ricketts (in reproduction: he had not seen the original) as a late picture by Moroni; he thought it gauche in painting (noting the "clumsy short thumbs") and design. This was also the impression of Morelli, basing his opinion upon a photograph.Vasari mentions this portrait just after the one of the Ambassador Mendozza, done in 1541; and according to Georg Gronau his indication is confirmed by a letter dated July 1642, in which the portrait is mentioned as finished. Gronau therefore thought it was produced in the first months of the year 1542. An article in the Gazette des Beaux-Arts corrected the date to 1552. The work is signed and dated, "1.5.5.2. / TITIAN FECIT".

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Prompt: How does Portrait of Cardinal Cristoforo Madruzzo explain its Analysis?

This is one of the few examples of a full-length portrait by Titian's hand. Giovanni Morelli and Charles Ricketts attributed it erroneously to Moroni. The picture affected Ricketts (in reproduction: he had not seen the original) as a late picture by Moroni; he thought it gauche in painting (noting the "clumsy short thumbs") and design. This was also the impression of Morelli, basing his opinion upon a photograph.Vasari mentions this portrait just after the one of the Ambassador Mendozza, done in 1541; and according to Georg Gronau his indication is confirmed by a letter dated July 1642, in which the portrait is mentioned as finished. Gronau therefore thought it was produced in the first months of the year 1542. An article in the Gazette des Beaux-Arts corrected the date to 1552. The work is signed and dated, "1.5.5.2. / TITIAN FECIT".

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Prompt: In Portrait of Cardinal Cristoforo Madruzzo, how is the Analysis discussed?

This is one of the few examples of a full-length portrait by Titian's hand. Giovanni Morelli and Charles Ricketts attributed it erroneously to Moroni. The picture affected Ricketts (in reproduction: he had not seen the original) as a late picture by Moroni; he thought it gauche in painting (noting the "clumsy short thumbs") and design. This was also the impression of Morelli, basing his opinion upon a photograph.Vasari mentions this portrait just after the one of the Ambassador Mendozza, done in 1541; and according to Georg Gronau his indication is confirmed by a letter dated July 1642, in which the portrait is mentioned as finished. Gronau therefore thought it was produced in the first months of the year 1542. An article in the Gazette des Beaux-Arts corrected the date to 1552. The work is signed and dated, "1.5.5.2. / TITIAN FECIT".

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Prompt: Focus on Portrait of Cardinal Cristoforo Madruzzo and explain the Provenance.

Formerly in the Castle of Trent, it remained in the Madruzzo family, and passing through various hands, it came in 1836 to the Salvadori and the collection of Barone Valentino de Salvadori. By 1910 it was in the collection of James Stillman in the United States. The picture passed through many hands, and was acquired by the São Paulo Museum of Art in 1951.

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Prompt: Explain the Provenance of this artwork, Portrait of Cardinal Cristoforo Madruzzo.

Formerly in the Castle of Trent, it remained in the Madruzzo family, and passing through various hands, it came in 1836 to the Salvadori and the collection of Barone Valentino de Salvadori. By 1910 it was in the collection of James Stillman in the United States. The picture passed through many hands, and was acquired by the São Paulo Museum of Art in 1951.

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Prompt: How does Portrait of Cardinal Cristoforo Madruzzo explain its Provenance?

Formerly in the Castle of Trent, it remained in the Madruzzo family, and passing through various hands, it came in 1836 to the Salvadori and the collection of Barone Valentino de Salvadori. By 1910 it was in the collection of James Stillman in the United States. The picture passed through many hands, and was acquired by the São Paulo Museum of Art in 1951.

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Prompt: In Portrait of Cardinal Cristoforo Madruzzo, how is the Provenance discussed?

Formerly in the Castle of Trent, it remained in the Madruzzo family, and passing through various hands, it came in 1836 to the Salvadori and the collection of Barone Valentino de Salvadori. By 1910 it was in the collection of James Stillman in the United States. The picture passed through many hands, and was acquired by the São Paulo Museum of Art in 1951.

Category:Paintings in the São Paulo Museum of Art

Diego Hurtado de Mendoza (poet and diplomat)


Cairns (sculpture)

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

Cairns is an outdoor 2008 public art installation by American artist Christine Bourdette, installed in the Old Town Chinatown neighborhood of Portland, Oregon, in the United States.

Union Station / Northwest 6th & Hoyt Street and Union Station / Northwest 5th & Glisan Street

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Stone sculptures in Portland, Oregon

Union Station/Northwest 6th & Hoyt and Union Station/Northwest 5th & Glisan stations


Cairns (sculpture)

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

Cairns is an outdoor 2008 public art installation by American artist Christine Bourdette, installed in the Old Town Chinatown neighborhood of Portland, Oregon, in the United States.

Union Station / Northwest 6th & Hoyt Street and Union Station / Northwest 5th & Glisan Street

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Stone sculptures in Portland, Oregon

Union Station/Northwest 6th & Hoyt and Union Station/Northwest 5th & Glisan stations


Cairns (sculpture)

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

Cairns is an outdoor 2008 public art installation by American artist Christine Bourdette, installed in the Old Town Chinatown neighborhood of Portland, Oregon, in the United States.

Union Station / Northwest 6th & Hoyt Street and Union Station / Northwest 5th & Glisan Street

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Stone sculptures in Portland, Oregon

Union Station/Northwest 6th & Hoyt and Union Station/Northwest 5th & Glisan stations


Cairns (sculpture)

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

Cairns is an outdoor 2008 public art installation by American artist Christine Bourdette, installed in the Old Town Chinatown neighborhood of Portland, Oregon, in the United States.

Union Station / Northwest 6th & Hoyt Street and Union Station / Northwest 5th & Glisan Street

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Stone sculptures in Portland, Oregon

Union Station/Northwest 6th & Hoyt and Union Station/Northwest 5th & Glisan stations


Cairns (sculpture)

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

Christine Bourdette's Cairns (2008) consists of a series of five stacked slate (or silver ledgestone) forms near Portland Union Station at the north end of the Transit Mall in Portland's Old Town Chinatown neighborhood. The stacks are installed at Northwest 6th Avenue and Northwest Glisan Street, and along Northwest 5th and 6th avenues between Glisan and Irving streets. They create a path to the MAX Light Rail stations Union Station / Northwest 6th & Hoyt Street and Union Station / Northwest 5th & Glisan Street.Bourdette was inspired by cairns, or stacks of stones are used as landmarks for memorials and navigation. She has said of the sculpture: A progression of increments, marking departure and arrival, marking a path; these basic aspects of time and travel have governed my approach to the three Union Station sites. As I considered ways in which humans mark pathways, I thought of cairns, those man-made stacks of stones that mark hiking trails and which historically have served as landmarks for land and sea navigation, memorials, and commemorative markers. Travelers on cross-country trails traditionally add stones to cairns as they pass, resulting in animated and precarious stacks of rocks and pebbles. This evidence of human comings and goings, these reminders that others have followed the same path signify safety and reassurance out in the wilderness. In the urban wilderness, finding one's way through the various stages of hurry-up-and-wait are just as significant. These stand-alone works speak to the step-by-step marking of time, and incorporate varying degrees of elegance and playfulness. They are related to each other through this thematic underpinning and through the use of stone, but each responds to its site in its own way.The sculptures measure 126 inches (3.2 m) x 69 inches (1.8 m) x 57 inches (1.4 m), 132 inches (3.4 m) x 73 inches (1.9 m) x 73 inches (1.9 m), 64 inches (1.6 m) x 28 inches (0.71 m) x 28 inches (0.71 m), 48 inches (1.2 m) x 32 inches (0.81 m) x 32 inches (0.81 m), 57 inches (1.4 m) x 23 inches (0.58 m) x 23 inches (0.58 m), and 88 inches (2.2 m) x 24 inches (0.61 m) x 24 inches (0.61 m), respectively. Cairns was funded by TriMet and is administered by the Regional Arts & Culture Council.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Stone sculptures in Portland, Oregon

Union Station/Northwest 6th & Hoyt and Union Station/Northwest 5th & Glisan stations


Cairns (sculpture)

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

Christine Bourdette's Cairns (2008) consists of a series of five stacked slate (or silver ledgestone) forms near Portland Union Station at the north end of the Transit Mall in Portland's Old Town Chinatown neighborhood. The stacks are installed at Northwest 6th Avenue and Northwest Glisan Street, and along Northwest 5th and 6th avenues between Glisan and Irving streets. They create a path to the MAX Light Rail stations Union Station / Northwest 6th & Hoyt Street and Union Station / Northwest 5th & Glisan Street.Bourdette was inspired by cairns, or stacks of stones are used as landmarks for memorials and navigation. She has said of the sculpture: A progression of increments, marking departure and arrival, marking a path; these basic aspects of time and travel have governed my approach to the three Union Station sites. As I considered ways in which humans mark pathways, I thought of cairns, those man-made stacks of stones that mark hiking trails and which historically have served as landmarks for land and sea navigation, memorials, and commemorative markers. Travelers on cross-country trails traditionally add stones to cairns as they pass, resulting in animated and precarious stacks of rocks and pebbles. This evidence of human comings and goings, these reminders that others have followed the same path signify safety and reassurance out in the wilderness. In the urban wilderness, finding one's way through the various stages of hurry-up-and-wait are just as significant. These stand-alone works speak to the step-by-step marking of time, and incorporate varying degrees of elegance and playfulness. They are related to each other through this thematic underpinning and through the use of stone, but each responds to its site in its own way.The sculptures measure 126 inches (3.2 m) x 69 inches (1.8 m) x 57 inches (1.4 m), 132 inches (3.4 m) x 73 inches (1.9 m) x 73 inches (1.9 m), 64 inches (1.6 m) x 28 inches (0.71 m) x 28 inches (0.71 m), 48 inches (1.2 m) x 32 inches (0.81 m) x 32 inches (0.81 m), 57 inches (1.4 m) x 23 inches (0.58 m) x 23 inches (0.58 m), and 88 inches (2.2 m) x 24 inches (0.61 m) x 24 inches (0.61 m), respectively. Cairns was funded by TriMet and is administered by the Regional Arts & Culture Council.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Stone sculptures in Portland, Oregon

Union Station/Northwest 6th & Hoyt and Union Station/Northwest 5th & Glisan stations


Cairns (sculpture)

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

Christine Bourdette's Cairns (2008) consists of a series of five stacked slate (or silver ledgestone) forms near Portland Union Station at the north end of the Transit Mall in Portland's Old Town Chinatown neighborhood. The stacks are installed at Northwest 6th Avenue and Northwest Glisan Street, and along Northwest 5th and 6th avenues between Glisan and Irving streets. They create a path to the MAX Light Rail stations Union Station / Northwest 6th & Hoyt Street and Union Station / Northwest 5th & Glisan Street.Bourdette was inspired by cairns, or stacks of stones are used as landmarks for memorials and navigation. She has said of the sculpture: A progression of increments, marking departure and arrival, marking a path; these basic aspects of time and travel have governed my approach to the three Union Station sites. As I considered ways in which humans mark pathways, I thought of cairns, those man-made stacks of stones that mark hiking trails and which historically have served as landmarks for land and sea navigation, memorials, and commemorative markers. Travelers on cross-country trails traditionally add stones to cairns as they pass, resulting in animated and precarious stacks of rocks and pebbles. This evidence of human comings and goings, these reminders that others have followed the same path signify safety and reassurance out in the wilderness. In the urban wilderness, finding one's way through the various stages of hurry-up-and-wait are just as significant. These stand-alone works speak to the step-by-step marking of time, and incorporate varying degrees of elegance and playfulness. They are related to each other through this thematic underpinning and through the use of stone, but each responds to its site in its own way.The sculptures measure 126 inches (3.2 m) x 69 inches (1.8 m) x 57 inches (1.4 m), 132 inches (3.4 m) x 73 inches (1.9 m) x 73 inches (1.9 m), 64 inches (1.6 m) x 28 inches (0.71 m) x 28 inches (0.71 m), 48 inches (1.2 m) x 32 inches (0.81 m) x 32 inches (0.81 m), 57 inches (1.4 m) x 23 inches (0.58 m) x 23 inches (0.58 m), and 88 inches (2.2 m) x 24 inches (0.61 m) x 24 inches (0.61 m), respectively. Cairns was funded by TriMet and is administered by the Regional Arts & Culture Council.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Stone sculptures in Portland, Oregon

Union Station/Northwest 6th & Hoyt and Union Station/Northwest 5th & Glisan stations


Cairns (sculpture)

Prompt: In Cairns (sculpture), how is the Description discussed?

Christine Bourdette's Cairns (2008) consists of a series of five stacked slate (or silver ledgestone) forms near Portland Union Station at the north end of the Transit Mall in Portland's Old Town Chinatown neighborhood. The stacks are installed at Northwest 6th Avenue and Northwest Glisan Street, and along Northwest 5th and 6th avenues between Glisan and Irving streets. They create a path to the MAX Light Rail stations Union Station / Northwest 6th & Hoyt Street and Union Station / Northwest 5th & Glisan Street.Bourdette was inspired by cairns, or stacks of stones are used as landmarks for memorials and navigation. She has said of the sculpture: A progression of increments, marking departure and arrival, marking a path; these basic aspects of time and travel have governed my approach to the three Union Station sites. As I considered ways in which humans mark pathways, I thought of cairns, those man-made stacks of stones that mark hiking trails and which historically have served as landmarks for land and sea navigation, memorials, and commemorative markers. Travelers on cross-country trails traditionally add stones to cairns as they pass, resulting in animated and precarious stacks of rocks and pebbles. This evidence of human comings and goings, these reminders that others have followed the same path signify safety and reassurance out in the wilderness. In the urban wilderness, finding one's way through the various stages of hurry-up-and-wait are just as significant. These stand-alone works speak to the step-by-step marking of time, and incorporate varying degrees of elegance and playfulness. They are related to each other through this thematic underpinning and through the use of stone, but each responds to its site in its own way.The sculptures measure 126 inches (3.2 m) x 69 inches (1.8 m) x 57 inches (1.4 m), 132 inches (3.4 m) x 73 inches (1.9 m) x 73 inches (1.9 m), 64 inches (1.6 m) x 28 inches (0.71 m) x 28 inches (0.71 m), 48 inches (1.2 m) x 32 inches (0.81 m) x 32 inches (0.81 m), 57 inches (1.4 m) x 23 inches (0.58 m) x 23 inches (0.58 m), and 88 inches (2.2 m) x 24 inches (0.61 m) x 24 inches (0.61 m), respectively. Cairns was funded by TriMet and is administered by the Regional Arts & Culture Council.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Stone sculptures in Portland, Oregon

Union Station/Northwest 6th & Hoyt and Union Station/Northwest 5th & Glisan stations


Marlowe Memorial

Prompt: Focus on Marlowe Memorial and explain the abstract.

The Marlowe Memorial is a statue and four statuettes erected in memory of the playwright and poet Christopher Marlowe in 1891 in Canterbury, England. The memorial was commissioned by a Marlowe Memorial Committee, and comprises a bronze statue, The Muse of Poetry sculpted by Edward Onslow Ford, standing on a plinth decorated with statuettes of actors playing Marlowe roles. The statue is now situated outside the city's Marlowe Theatre.

The ''Marlowe Memorial'' at its current location near the [[Marlowe Theatre

File:Statue for Christopher Marlowe in Canterbury.jpg

Category:Buildings and structures in Canterbury

Category:1891 establishments in the United Kingdom

Category:Cultural depictions of Christopher Marlowe

File:Edward Onslow Ford (1852-1901) - The Muse of Poetry (1891) low front right, face and upper torso, Marlowe Memorial nr Marlowe Theatre, The Friars, Canterbury, UK, October 2012 (8111615884).png

File:Marlowe Memorial unveiling, 1891.jpg


Marlowe Memorial

Prompt: Explain the abstract of this artwork, Marlowe Memorial.

The Marlowe Memorial is a statue and four statuettes erected in memory of the playwright and poet Christopher Marlowe in 1891 in Canterbury, England. The memorial was commissioned by a Marlowe Memorial Committee, and comprises a bronze statue, The Muse of Poetry sculpted by Edward Onslow Ford, standing on a plinth decorated with statuettes of actors playing Marlowe roles. The statue is now situated outside the city's Marlowe Theatre.

The ''Marlowe Memorial'' at its current location near the [[Marlowe Theatre

File:Statue for Christopher Marlowe in Canterbury.jpg

Category:Buildings and structures in Canterbury

Category:1891 establishments in the United Kingdom

Category:Cultural depictions of Christopher Marlowe

File:Edward Onslow Ford (1852-1901) - The Muse of Poetry (1891) low front right, face and upper torso, Marlowe Memorial nr Marlowe Theatre, The Friars, Canterbury, UK, October 2012 (8111615884).png

File:Marlowe Memorial unveiling, 1891.jpg


Marlowe Memorial

Prompt: How does Marlowe Memorial explain its abstract?

The Marlowe Memorial is a statue and four statuettes erected in memory of the playwright and poet Christopher Marlowe in 1891 in Canterbury, England. The memorial was commissioned by a Marlowe Memorial Committee, and comprises a bronze statue, The Muse of Poetry sculpted by Edward Onslow Ford, standing on a plinth decorated with statuettes of actors playing Marlowe roles. The statue is now situated outside the city's Marlowe Theatre.

The ''Marlowe Memorial'' at its current location near the [[Marlowe Theatre

File:Statue for Christopher Marlowe in Canterbury.jpg

Category:Buildings and structures in Canterbury

Category:1891 establishments in the United Kingdom

Category:Cultural depictions of Christopher Marlowe

File:Edward Onslow Ford (1852-1901) - The Muse of Poetry (1891) low front right, face and upper torso, Marlowe Memorial nr Marlowe Theatre, The Friars, Canterbury, UK, October 2012 (8111615884).png

File:Marlowe Memorial unveiling, 1891.jpg


Marlowe Memorial

Prompt: In Marlowe Memorial, how is the abstract discussed?

The Marlowe Memorial is a statue and four statuettes erected in memory of the playwright and poet Christopher Marlowe in 1891 in Canterbury, England. The memorial was commissioned by a Marlowe Memorial Committee, and comprises a bronze statue, The Muse of Poetry sculpted by Edward Onslow Ford, standing on a plinth decorated with statuettes of actors playing Marlowe roles. The statue is now situated outside the city's Marlowe Theatre.

The ''Marlowe Memorial'' at its current location near the [[Marlowe Theatre

File:Statue for Christopher Marlowe in Canterbury.jpg

Category:Buildings and structures in Canterbury

Category:1891 establishments in the United Kingdom

Category:Cultural depictions of Christopher Marlowe

File:Edward Onslow Ford (1852-1901) - The Muse of Poetry (1891) low front right, face and upper torso, Marlowe Memorial nr Marlowe Theatre, The Friars, Canterbury, UK, October 2012 (8111615884).png

File:Marlowe Memorial unveiling, 1891.jpg


Marlowe Memorial

Prompt: Focus on Marlowe Memorial and explain the Memorial Committee.

A Marlow Memorial Committee was established in 1888, arising out of a conception on the part of the Elizabethan Society of Toynbee Hall, that Marlowe, perhaps because of his reputation as an atheist, lacked the national recognition that he deserved. James Ernest Baker of the Society wrote to the London Evening Standard newspaper on 28 July 1888 to draw attention to Marlowe's work and legacy, stating that he had "laid the foundations of English blank verse, which, in its more developed form through the medium of Shakespeare and Milton, has become the life-blood of English literature and the supreme instrument of tragic poetry."A committee was formed in reaction to the letter, numbering amongst its officers Sidney Lee and Frederick Rogers of the Society, the former acting as treasurer; Lord Coleridge, the Lord Chief Justice of England acting as chairman; and with members including poets Robert Browning, Alfred, Lord Tennyson, James Russell Lowell, Edmund Gosse, Algernon Charles Swinburne, John Addington Symonds, Andrew Lang, Alfred Austin and Henry Beeching; the publisher Arthur Henry Bullen, editor Alexander Balloch Grosart, actor-manager Henry Irving; writers & critics Leslie Stephen, Richard Garnett; and scholars Horace Howard Furness and Francis James Child. The committee raised funds by subscription, and held a public reading at St James's Hall involving Irving and Ellen Terry, which raised £100.

The ''Marlowe Memorial'' at its current location near the [[Marlowe Theatre

File:Statue for Christopher Marlowe in Canterbury.jpg

Category:Buildings and structures in Canterbury

Category:1891 establishments in the United Kingdom

Category:Cultural depictions of Christopher Marlowe

File:Edward Onslow Ford (1852-1901) - The Muse of Poetry (1891) low front right, face and upper torso, Marlowe Memorial nr Marlowe Theatre, The Friars, Canterbury, UK, October 2012 (8111615884).png

File:Marlowe Memorial unveiling, 1891.jpg


Marlowe Memorial

Prompt: Explain the Memorial Committee of this artwork, Marlowe Memorial.

A Marlow Memorial Committee was established in 1888, arising out of a conception on the part of the Elizabethan Society of Toynbee Hall, that Marlowe, perhaps because of his reputation as an atheist, lacked the national recognition that he deserved. James Ernest Baker of the Society wrote to the London Evening Standard newspaper on 28 July 1888 to draw attention to Marlowe's work and legacy, stating that he had "laid the foundations of English blank verse, which, in its more developed form through the medium of Shakespeare and Milton, has become the life-blood of English literature and the supreme instrument of tragic poetry."A committee was formed in reaction to the letter, numbering amongst its officers Sidney Lee and Frederick Rogers of the Society, the former acting as treasurer; Lord Coleridge, the Lord Chief Justice of England acting as chairman; and with members including poets Robert Browning, Alfred, Lord Tennyson, James Russell Lowell, Edmund Gosse, Algernon Charles Swinburne, John Addington Symonds, Andrew Lang, Alfred Austin and Henry Beeching; the publisher Arthur Henry Bullen, editor Alexander Balloch Grosart, actor-manager Henry Irving; writers & critics Leslie Stephen, Richard Garnett; and scholars Horace Howard Furness and Francis James Child. The committee raised funds by subscription, and held a public reading at St James's Hall involving Irving and Ellen Terry, which raised £100.

The ''Marlowe Memorial'' at its current location near the [[Marlowe Theatre

File:Statue for Christopher Marlowe in Canterbury.jpg

Category:Buildings and structures in Canterbury

Category:1891 establishments in the United Kingdom

Category:Cultural depictions of Christopher Marlowe

File:Edward Onslow Ford (1852-1901) - The Muse of Poetry (1891) low front right, face and upper torso, Marlowe Memorial nr Marlowe Theatre, The Friars, Canterbury, UK, October 2012 (8111615884).png

File:Marlowe Memorial unveiling, 1891.jpg


Marlowe Memorial

Prompt: How does Marlowe Memorial explain its Memorial Committee?

A Marlow Memorial Committee was established in 1888, arising out of a conception on the part of the Elizabethan Society of Toynbee Hall, that Marlowe, perhaps because of his reputation as an atheist, lacked the national recognition that he deserved. James Ernest Baker of the Society wrote to the London Evening Standard newspaper on 28 July 1888 to draw attention to Marlowe's work and legacy, stating that he had "laid the foundations of English blank verse, which, in its more developed form through the medium of Shakespeare and Milton, has become the life-blood of English literature and the supreme instrument of tragic poetry."A committee was formed in reaction to the letter, numbering amongst its officers Sidney Lee and Frederick Rogers of the Society, the former acting as treasurer; Lord Coleridge, the Lord Chief Justice of England acting as chairman; and with members including poets Robert Browning, Alfred, Lord Tennyson, James Russell Lowell, Edmund Gosse, Algernon Charles Swinburne, John Addington Symonds, Andrew Lang, Alfred Austin and Henry Beeching; the publisher Arthur Henry Bullen, editor Alexander Balloch Grosart, actor-manager Henry Irving; writers & critics Leslie Stephen, Richard Garnett; and scholars Horace Howard Furness and Francis James Child. The committee raised funds by subscription, and held a public reading at St James's Hall involving Irving and Ellen Terry, which raised £100.

The ''Marlowe Memorial'' at its current location near the [[Marlowe Theatre

File:Statue for Christopher Marlowe in Canterbury.jpg

Category:Buildings and structures in Canterbury

Category:1891 establishments in the United Kingdom

Category:Cultural depictions of Christopher Marlowe

File:Edward Onslow Ford (1852-1901) - The Muse of Poetry (1891) low front right, face and upper torso, Marlowe Memorial nr Marlowe Theatre, The Friars, Canterbury, UK, October 2012 (8111615884).png

File:Marlowe Memorial unveiling, 1891.jpg


Marlowe Memorial

Prompt: In Marlowe Memorial, how is the Memorial Committee discussed?

A Marlow Memorial Committee was established in 1888, arising out of a conception on the part of the Elizabethan Society of Toynbee Hall, that Marlowe, perhaps because of his reputation as an atheist, lacked the national recognition that he deserved. James Ernest Baker of the Society wrote to the London Evening Standard newspaper on 28 July 1888 to draw attention to Marlowe's work and legacy, stating that he had "laid the foundations of English blank verse, which, in its more developed form through the medium of Shakespeare and Milton, has become the life-blood of English literature and the supreme instrument of tragic poetry."A committee was formed in reaction to the letter, numbering amongst its officers Sidney Lee and Frederick Rogers of the Society, the former acting as treasurer; Lord Coleridge, the Lord Chief Justice of England acting as chairman; and with members including poets Robert Browning, Alfred, Lord Tennyson, James Russell Lowell, Edmund Gosse, Algernon Charles Swinburne, John Addington Symonds, Andrew Lang, Alfred Austin and Henry Beeching; the publisher Arthur Henry Bullen, editor Alexander Balloch Grosart, actor-manager Henry Irving; writers & critics Leslie Stephen, Richard Garnett; and scholars Horace Howard Furness and Francis James Child. The committee raised funds by subscription, and held a public reading at St James's Hall involving Irving and Ellen Terry, which raised £100.

The ''Marlowe Memorial'' at its current location near the [[Marlowe Theatre

File:Statue for Christopher Marlowe in Canterbury.jpg

Category:Buildings and structures in Canterbury

Category:1891 establishments in the United Kingdom

Category:Cultural depictions of Christopher Marlowe

File:Edward Onslow Ford (1852-1901) - The Muse of Poetry (1891) low front right, face and upper torso, Marlowe Memorial nr Marlowe Theatre, The Friars, Canterbury, UK, October 2012 (8111615884).png

File:Marlowe Memorial unveiling, 1891.jpg


Marlowe Memorial

Prompt: Focus on Marlowe Memorial and explain the Memorial.

Victorian sculptor Edward Onslow Ford was commissioned to create the memorial; there being no surviving image of Marlowe known at the time, Ford decided on an allegorical representation in the form of The Muse of Poetry, a scantily-clad lyric muse surmounting a square pedestal having statuettes of four notable players of Marlowe characters in niches on each side. These were to be (according to Rogers) Irving as Tamburlaine, George Alexander as Faustus, Herbert Beerbohm Tree as Edward II, and W. S. Willard as The Jew of Malta.Funds were insufficient to realise this plan, and the memorial, situated in the Buttermarket, was unveiled on 16 September 1891 by Irving, with his statuette as the sole plinth decoration. Rogers  asserts that the Memorial awakened a new interest in Elizabethan literature, and quoting Gosse – "Marlowe had been successfully neglected for three-hundred years" noted that "he suddenly became the subject of leading articles in the chief newspapers and magazines, and of paragraphs and leaderettes in minor ones". Although the statue earned the nicknamed Kitty (the playwright was known as Kit), some objections were raised to the statue's dishabille, especially so near the Cathedral. Shrubbery, railings and four lanterns were erected around the statue in 1892.Much later, additional funds were raised to complete the vision, and a second unveiling was conducted by the novelist Hugh Walpole, who had briefly attended Marlowe's alma mater, The King's School, Canterbury. A contemporary source lists the statuettes on the plinth as Irving (Tamburlaine), Sir Johnston Forbes-Roberston as Faustus, James Keteltas Hackett as Edward II, and Edward Alleyn as The Jew of Malta.The statue has been resited on a number of occasions; first to King Street to make way for a World War I memorial; thence to Dane John Gardens in 1921. The memorial was damaged in a 1940 (or 1942) World War II bombing of the city, the muse being thrown to the ground. She was remounted, but facing in a new direction, an error corrected only in 1964. Two statuettes were stolen in 1977. Most recently the statue was again relocated to stand outside the Marlowe Theatre, Ian McKellen performing a rededication ceremony in 1993.

The ''Marlowe Memorial'' at its current location near the [[Marlowe Theatre

File:Statue for Christopher Marlowe in Canterbury.jpg

Category:Buildings and structures in Canterbury

Category:1891 establishments in the United Kingdom

Category:Cultural depictions of Christopher Marlowe

File:Edward Onslow Ford (1852-1901) - The Muse of Poetry (1891) low front right, face and upper torso, Marlowe Memorial nr Marlowe Theatre, The Friars, Canterbury, UK, October 2012 (8111615884).png

File:Marlowe Memorial unveiling, 1891.jpg


Marlowe Memorial

Prompt: Explain the Memorial of this artwork, Marlowe Memorial.

Victorian sculptor Edward Onslow Ford was commissioned to create the memorial; there being no surviving image of Marlowe known at the time, Ford decided on an allegorical representation in the form of The Muse of Poetry, a scantily-clad lyric muse surmounting a square pedestal having statuettes of four notable players of Marlowe characters in niches on each side. These were to be (according to Rogers) Irving as Tamburlaine, George Alexander as Faustus, Herbert Beerbohm Tree as Edward II, and W. S. Willard as The Jew of Malta.Funds were insufficient to realise this plan, and the memorial, situated in the Buttermarket, was unveiled on 16 September 1891 by Irving, with his statuette as the sole plinth decoration. Rogers  asserts that the Memorial awakened a new interest in Elizabethan literature, and quoting Gosse – "Marlowe had been successfully neglected for three-hundred years" noted that "he suddenly became the subject of leading articles in the chief newspapers and magazines, and of paragraphs and leaderettes in minor ones". Although the statue earned the nicknamed Kitty (the playwright was known as Kit), some objections were raised to the statue's dishabille, especially so near the Cathedral. Shrubbery, railings and four lanterns were erected around the statue in 1892.Much later, additional funds were raised to complete the vision, and a second unveiling was conducted by the novelist Hugh Walpole, who had briefly attended Marlowe's alma mater, The King's School, Canterbury. A contemporary source lists the statuettes on the plinth as Irving (Tamburlaine), Sir Johnston Forbes-Roberston as Faustus, James Keteltas Hackett as Edward II, and Edward Alleyn as The Jew of Malta.The statue has been resited on a number of occasions; first to King Street to make way for a World War I memorial; thence to Dane John Gardens in 1921. The memorial was damaged in a 1940 (or 1942) World War II bombing of the city, the muse being thrown to the ground. She was remounted, but facing in a new direction, an error corrected only in 1964. Two statuettes were stolen in 1977. Most recently the statue was again relocated to stand outside the Marlowe Theatre, Ian McKellen performing a rededication ceremony in 1993.

The ''Marlowe Memorial'' at its current location near the [[Marlowe Theatre

File:Statue for Christopher Marlowe in Canterbury.jpg

Category:Buildings and structures in Canterbury

Category:1891 establishments in the United Kingdom

Category:Cultural depictions of Christopher Marlowe

File:Edward Onslow Ford (1852-1901) - The Muse of Poetry (1891) low front right, face and upper torso, Marlowe Memorial nr Marlowe Theatre, The Friars, Canterbury, UK, October 2012 (8111615884).png

File:Marlowe Memorial unveiling, 1891.jpg


Marlowe Memorial

Prompt: How does Marlowe Memorial explain its Memorial?

Victorian sculptor Edward Onslow Ford was commissioned to create the memorial; there being no surviving image of Marlowe known at the time, Ford decided on an allegorical representation in the form of The Muse of Poetry, a scantily-clad lyric muse surmounting a square pedestal having statuettes of four notable players of Marlowe characters in niches on each side. These were to be (according to Rogers) Irving as Tamburlaine, George Alexander as Faustus, Herbert Beerbohm Tree as Edward II, and W. S. Willard as The Jew of Malta.Funds were insufficient to realise this plan, and the memorial, situated in the Buttermarket, was unveiled on 16 September 1891 by Irving, with his statuette as the sole plinth decoration. Rogers  asserts that the Memorial awakened a new interest in Elizabethan literature, and quoting Gosse – "Marlowe had been successfully neglected for three-hundred years" noted that "he suddenly became the subject of leading articles in the chief newspapers and magazines, and of paragraphs and leaderettes in minor ones". Although the statue earned the nicknamed Kitty (the playwright was known as Kit), some objections were raised to the statue's dishabille, especially so near the Cathedral. Shrubbery, railings and four lanterns were erected around the statue in 1892.Much later, additional funds were raised to complete the vision, and a second unveiling was conducted by the novelist Hugh Walpole, who had briefly attended Marlowe's alma mater, The King's School, Canterbury. A contemporary source lists the statuettes on the plinth as Irving (Tamburlaine), Sir Johnston Forbes-Roberston as Faustus, James Keteltas Hackett as Edward II, and Edward Alleyn as The Jew of Malta.The statue has been resited on a number of occasions; first to King Street to make way for a World War I memorial; thence to Dane John Gardens in 1921. The memorial was damaged in a 1940 (or 1942) World War II bombing of the city, the muse being thrown to the ground. She was remounted, but facing in a new direction, an error corrected only in 1964. Two statuettes were stolen in 1977. Most recently the statue was again relocated to stand outside the Marlowe Theatre, Ian McKellen performing a rededication ceremony in 1993.

The ''Marlowe Memorial'' at its current location near the [[Marlowe Theatre

File:Statue for Christopher Marlowe in Canterbury.jpg

Category:Buildings and structures in Canterbury

Category:1891 establishments in the United Kingdom

Category:Cultural depictions of Christopher Marlowe

File:Edward Onslow Ford (1852-1901) - The Muse of Poetry (1891) low front right, face and upper torso, Marlowe Memorial nr Marlowe Theatre, The Friars, Canterbury, UK, October 2012 (8111615884).png

File:Marlowe Memorial unveiling, 1891.jpg


Marlowe Memorial

Prompt: In Marlowe Memorial, how is the Memorial discussed?

Victorian sculptor Edward Onslow Ford was commissioned to create the memorial; there being no surviving image of Marlowe known at the time, Ford decided on an allegorical representation in the form of The Muse of Poetry, a scantily-clad lyric muse surmounting a square pedestal having statuettes of four notable players of Marlowe characters in niches on each side. These were to be (according to Rogers) Irving as Tamburlaine, George Alexander as Faustus, Herbert Beerbohm Tree as Edward II, and W. S. Willard as The Jew of Malta.Funds were insufficient to realise this plan, and the memorial, situated in the Buttermarket, was unveiled on 16 September 1891 by Irving, with his statuette as the sole plinth decoration. Rogers  asserts that the Memorial awakened a new interest in Elizabethan literature, and quoting Gosse – "Marlowe had been successfully neglected for three-hundred years" noted that "he suddenly became the subject of leading articles in the chief newspapers and magazines, and of paragraphs and leaderettes in minor ones". Although the statue earned the nicknamed Kitty (the playwright was known as Kit), some objections were raised to the statue's dishabille, especially so near the Cathedral. Shrubbery, railings and four lanterns were erected around the statue in 1892.Much later, additional funds were raised to complete the vision, and a second unveiling was conducted by the novelist Hugh Walpole, who had briefly attended Marlowe's alma mater, The King's School, Canterbury. A contemporary source lists the statuettes on the plinth as Irving (Tamburlaine), Sir Johnston Forbes-Roberston as Faustus, James Keteltas Hackett as Edward II, and Edward Alleyn as The Jew of Malta.The statue has been resited on a number of occasions; first to King Street to make way for a World War I memorial; thence to Dane John Gardens in 1921. The memorial was damaged in a 1940 (or 1942) World War II bombing of the city, the muse being thrown to the ground. She was remounted, but facing in a new direction, an error corrected only in 1964. Two statuettes were stolen in 1977. Most recently the statue was again relocated to stand outside the Marlowe Theatre, Ian McKellen performing a rededication ceremony in 1993.

The ''Marlowe Memorial'' at its current location near the [[Marlowe Theatre

File:Statue for Christopher Marlowe in Canterbury.jpg

Category:Buildings and structures in Canterbury

Category:1891 establishments in the United Kingdom

Category:Cultural depictions of Christopher Marlowe

File:Edward Onslow Ford (1852-1901) - The Muse of Poetry (1891) low front right, face and upper torso, Marlowe Memorial nr Marlowe Theatre, The Friars, Canterbury, UK, October 2012 (8111615884).png

File:Marlowe Memorial unveiling, 1891.jpg


The Ravine of the Peyroulets

Prompt: Focus on The Ravine of the Peyroulets and explain the abstract.

The Ravine of the Peyroulets, or The Ravine is an 1889 oil painting by the Dutch Post-Impressionist painter Vincent van Gogh.  It is part of a large series of paintings created during a time of extraordinary creative activity for the artist in the last year of his life, after he had committed himself to the Saint-Paul Asylum near Saint-Rémy-de-Provence. It was painted in late autumn, and Van Gogh wrote to his friend Émile Bernard: "Such subjects certainly have a fine melancholy, but then it is fun to work in rather wild places, where one has to dig one's easel in between the stones lest the wind should blow the whole caboodle over." The following spring Van Gogh sent it to Paris, where Paul Gauguin admired the painting and responded saying: "In subjects from nature you are the only one who thinks. I talked about it with your brother, and there is one that I would like to trade with you for one of mine of your choice. The one I am talking about is a mountain landscape. Two travelers, very small, seem to be climbing there in search of the unknown…Here and there, red touches like lights, the whole in a violet tone. It is beautiful and grandiose."  Later another Van Gogh painting, Wild Vegetation, was discovered underneath as it had been painted over by the Dutchman. The work is now in the permanent collection of the Boston Museum of Fine Arts, most recently displayed at Gallery 244, "Dutch and Flemish Art".

Category:Paintings in the Museum of Fine Arts, Boston

Saint-Paul Asylum, Saint-Rémy (Van Gogh series)


The Ravine of the Peyroulets

Prompt: Explain the abstract of this artwork, The Ravine of the Peyroulets.

The Ravine of the Peyroulets, or The Ravine is an 1889 oil painting by the Dutch Post-Impressionist painter Vincent van Gogh.  It is part of a large series of paintings created during a time of extraordinary creative activity for the artist in the last year of his life, after he had committed himself to the Saint-Paul Asylum near Saint-Rémy-de-Provence. It was painted in late autumn, and Van Gogh wrote to his friend Émile Bernard: "Such subjects certainly have a fine melancholy, but then it is fun to work in rather wild places, where one has to dig one's easel in between the stones lest the wind should blow the whole caboodle over." The following spring Van Gogh sent it to Paris, where Paul Gauguin admired the painting and responded saying: "In subjects from nature you are the only one who thinks. I talked about it with your brother, and there is one that I would like to trade with you for one of mine of your choice. The one I am talking about is a mountain landscape. Two travelers, very small, seem to be climbing there in search of the unknown…Here and there, red touches like lights, the whole in a violet tone. It is beautiful and grandiose."  Later another Van Gogh painting, Wild Vegetation, was discovered underneath as it had been painted over by the Dutchman. The work is now in the permanent collection of the Boston Museum of Fine Arts, most recently displayed at Gallery 244, "Dutch and Flemish Art".

Category:Paintings in the Museum of Fine Arts, Boston

Saint-Paul Asylum, Saint-Rémy (Van Gogh series)


The Ravine of the Peyroulets

Prompt: How does The Ravine of the Peyroulets explain its abstract?

The Ravine of the Peyroulets, or The Ravine is an 1889 oil painting by the Dutch Post-Impressionist painter Vincent van Gogh.  It is part of a large series of paintings created during a time of extraordinary creative activity for the artist in the last year of his life, after he had committed himself to the Saint-Paul Asylum near Saint-Rémy-de-Provence. It was painted in late autumn, and Van Gogh wrote to his friend Émile Bernard: "Such subjects certainly have a fine melancholy, but then it is fun to work in rather wild places, where one has to dig one's easel in between the stones lest the wind should blow the whole caboodle over." The following spring Van Gogh sent it to Paris, where Paul Gauguin admired the painting and responded saying: "In subjects from nature you are the only one who thinks. I talked about it with your brother, and there is one that I would like to trade with you for one of mine of your choice. The one I am talking about is a mountain landscape. Two travelers, very small, seem to be climbing there in search of the unknown…Here and there, red touches like lights, the whole in a violet tone. It is beautiful and grandiose."  Later another Van Gogh painting, Wild Vegetation, was discovered underneath as it had been painted over by the Dutchman. The work is now in the permanent collection of the Boston Museum of Fine Arts, most recently displayed at Gallery 244, "Dutch and Flemish Art".

Category:Paintings in the Museum of Fine Arts, Boston

Saint-Paul Asylum, Saint-Rémy (Van Gogh series)


The Ravine of the Peyroulets

Prompt: In The Ravine of the Peyroulets, how is the abstract discussed?

The Ravine of the Peyroulets, or The Ravine is an 1889 oil painting by the Dutch Post-Impressionist painter Vincent van Gogh.  It is part of a large series of paintings created during a time of extraordinary creative activity for the artist in the last year of his life, after he had committed himself to the Saint-Paul Asylum near Saint-Rémy-de-Provence. It was painted in late autumn, and Van Gogh wrote to his friend Émile Bernard: "Such subjects certainly have a fine melancholy, but then it is fun to work in rather wild places, where one has to dig one's easel in between the stones lest the wind should blow the whole caboodle over." The following spring Van Gogh sent it to Paris, where Paul Gauguin admired the painting and responded saying: "In subjects from nature you are the only one who thinks. I talked about it with your brother, and there is one that I would like to trade with you for one of mine of your choice. The one I am talking about is a mountain landscape. Two travelers, very small, seem to be climbing there in search of the unknown…Here and there, red touches like lights, the whole in a violet tone. It is beautiful and grandiose."  Later another Van Gogh painting, Wild Vegetation, was discovered underneath as it had been painted over by the Dutchman. The work is now in the permanent collection of the Boston Museum of Fine Arts, most recently displayed at Gallery 244, "Dutch and Flemish Art".

Category:Paintings in the Museum of Fine Arts, Boston

Saint-Paul Asylum, Saint-Rémy (Van Gogh series)


Portrait of Maria Anna

Prompt: Focus on Portrait of Maria Anna and explain the abstract.

The Portrait of Maria Anna is a 1630 portrait of Maria Anna of Spain by Diego Velázquez. It is now in the Museo del Prado.It was painted during his three-month stay in Naples on his return to Spain from Naples. It was made prior to its subject's marriage to Ferdinand III of Austria to be taken to Spain as a reminder of her in her absence for her brother Philip IV of Spain (since the time of Charles I of Spain it had been customary for Spanish kings and their relatives to exchange kinship portraits to show their character to others, to demonstrate their appearance in marriage negotiations or simply to remind each other of their appearance). As in his previous portraits, Velázquez paints his subject against a dark background to make the figure stand out, whilst the green suit, grey ruff and hair are all realised in minute detail.

Category:Portraits by Diego Velázquez in the Museo del Prado


Portrait of Maria Anna

Prompt: Explain the abstract of this artwork, Portrait of Maria Anna.

The Portrait of Maria Anna is a 1630 portrait of Maria Anna of Spain by Diego Velázquez. It is now in the Museo del Prado.It was painted during his three-month stay in Naples on his return to Spain from Naples. It was made prior to its subject's marriage to Ferdinand III of Austria to be taken to Spain as a reminder of her in her absence for her brother Philip IV of Spain (since the time of Charles I of Spain it had been customary for Spanish kings and their relatives to exchange kinship portraits to show their character to others, to demonstrate their appearance in marriage negotiations or simply to remind each other of their appearance). As in his previous portraits, Velázquez paints his subject against a dark background to make the figure stand out, whilst the green suit, grey ruff and hair are all realised in minute detail.

Category:Portraits by Diego Velázquez in the Museo del Prado


Portrait of Maria Anna

Prompt: How does Portrait of Maria Anna explain its abstract?

The Portrait of Maria Anna is a 1630 portrait of Maria Anna of Spain by Diego Velázquez. It is now in the Museo del Prado.It was painted during his three-month stay in Naples on his return to Spain from Naples. It was made prior to its subject's marriage to Ferdinand III of Austria to be taken to Spain as a reminder of her in her absence for her brother Philip IV of Spain (since the time of Charles I of Spain it had been customary for Spanish kings and their relatives to exchange kinship portraits to show their character to others, to demonstrate their appearance in marriage negotiations or simply to remind each other of their appearance). As in his previous portraits, Velázquez paints his subject against a dark background to make the figure stand out, whilst the green suit, grey ruff and hair are all realised in minute detail.

Category:Portraits by Diego Velázquez in the Museo del Prado


Portrait of Maria Anna

Prompt: In Portrait of Maria Anna, how is the abstract discussed?

The Portrait of Maria Anna is a 1630 portrait of Maria Anna of Spain by Diego Velázquez. It is now in the Museo del Prado.It was painted during his three-month stay in Naples on his return to Spain from Naples. It was made prior to its subject's marriage to Ferdinand III of Austria to be taken to Spain as a reminder of her in her absence for her brother Philip IV of Spain (since the time of Charles I of Spain it had been customary for Spanish kings and their relatives to exchange kinship portraits to show their character to others, to demonstrate their appearance in marriage negotiations or simply to remind each other of their appearance). As in his previous portraits, Velázquez paints his subject against a dark background to make the figure stand out, whilst the green suit, grey ruff and hair are all realised in minute detail.

Category:Portraits by Diego Velázquez in the Museo del Prado


A Man with an Axe

Prompt: Focus on A Man with an Axe and explain the abstract.

A Man with an Axe is an 1891 oil on canvas painting by Paul Gauguin, now in a Swiss private collection. It is one his first major paintings from his Tahiti period being painted shortly after his arrival in Papeete. A study for it is now in the Art Institute of Chicago.

List of paintings by Paul Gauguin
Paul Gauguin#First visit to Tahiti
Tahiti
Art Institute of Chicago
Paul Gauguin
Category:1891 paintings
Category:Paintings by Paul Gauguin
Category:Paintings in Switzerland
Category:Ships in art
David Sweetman
Papeete
Tahiti period


A Man with an Axe

Prompt: Explain the abstract of this artwork, A Man with an Axe.

A Man with an Axe is an 1891 oil on canvas painting by Paul Gauguin, now in a Swiss private collection. It is one his first major paintings from his Tahiti period being painted shortly after his arrival in Papeete. A study for it is now in the Art Institute of Chicago.

List of paintings by Paul Gauguin
Paul Gauguin#First visit to Tahiti
Tahiti
Art Institute of Chicago
Paul Gauguin
Category:1891 paintings
Category:Paintings by Paul Gauguin
Category:Paintings in Switzerland
Category:Ships in art
David Sweetman
Papeete
Tahiti period


A Man with an Axe

Prompt: How does A Man with an Axe explain its abstract?

A Man with an Axe is an 1891 oil on canvas painting by Paul Gauguin, now in a Swiss private collection. It is one his first major paintings from his Tahiti period being painted shortly after his arrival in Papeete. A study for it is now in the Art Institute of Chicago.

List of paintings by Paul Gauguin
Paul Gauguin#First visit to Tahiti
Tahiti
Art Institute of Chicago
Paul Gauguin
Category:1891 paintings
Category:Paintings by Paul Gauguin
Category:Paintings in Switzerland
Category:Ships in art
David Sweetman
Papeete
Tahiti period


A Man with an Axe

Prompt: In A Man with an Axe, how is the abstract discussed?

A Man with an Axe is an 1891 oil on canvas painting by Paul Gauguin, now in a Swiss private collection. It is one his first major paintings from his Tahiti period being painted shortly after his arrival in Papeete. A study for it is now in the Art Institute of Chicago.

List of paintings by Paul Gauguin
Paul Gauguin#First visit to Tahiti
Tahiti
Art Institute of Chicago
Paul Gauguin
Category:1891 paintings
Category:Paintings by Paul Gauguin
Category:Paintings in Switzerland
Category:Ships in art
David Sweetman
Papeete
Tahiti period


A Man with an Axe

Prompt: Focus on A Man with an Axe and explain the History.

Paul Gauguin would arrive in Papeete on Tahiti in the summer of 1891. He came looking a simplicity that he had failed to find in Paris. The scene of a man with an axe chopping at a dead tree and a woman arranging nets was one that Gauguin observed in front of his hut. Gauguin referred to this central figure as "Totefa", "Jotepha", "Jotefa" and versions of Joseph" although these may all be his own inventions. Gauguin used some of the most potent colours that had been seen in painting up until that point which he explained as his observations of the natural hues of Tahiti and his forgoing of the traditional European studio procedure.It has been interpreted that the painting represents the ending of Gauguin moral crisis and his liberation from the conventions of European culture. It has also been said to represent the Gauguin's fascination with the "primitive"; with the man representing raw masculine power and the woman being a symbol of pre-Christian innocent sexuality.

List of paintings by Paul Gauguin
Paul Gauguin#First visit to Tahiti
Tahiti
Art Institute of Chicago
Paul Gauguin
Category:1891 paintings
Category:Paintings by Paul Gauguin
Category:Paintings in Switzerland
Category:Ships in art
David Sweetman
Papeete
Tahiti period


A Man with an Axe

Prompt: Explain the History of this artwork, A Man with an Axe.

Paul Gauguin would arrive in Papeete on Tahiti in the summer of 1891. He came looking a simplicity that he had failed to find in Paris. The scene of a man with an axe chopping at a dead tree and a woman arranging nets was one that Gauguin observed in front of his hut. Gauguin referred to this central figure as "Totefa", "Jotepha", "Jotefa" and versions of Joseph" although these may all be his own inventions. Gauguin used some of the most potent colours that had been seen in painting up until that point which he explained as his observations of the natural hues of Tahiti and his forgoing of the traditional European studio procedure.It has been interpreted that the painting represents the ending of Gauguin moral crisis and his liberation from the conventions of European culture. It has also been said to represent the Gauguin's fascination with the "primitive"; with the man representing raw masculine power and the woman being a symbol of pre-Christian innocent sexuality.

List of paintings by Paul Gauguin
Paul Gauguin#First visit to Tahiti
Tahiti
Art Institute of Chicago
Paul Gauguin
Category:1891 paintings
Category:Paintings by Paul Gauguin
Category:Paintings in Switzerland
Category:Ships in art
David Sweetman
Papeete
Tahiti period


A Man with an Axe

Prompt: How does A Man with an Axe explain its History?

Paul Gauguin would arrive in Papeete on Tahiti in the summer of 1891. He came looking a simplicity that he had failed to find in Paris. The scene of a man with an axe chopping at a dead tree and a woman arranging nets was one that Gauguin observed in front of his hut. Gauguin referred to this central figure as "Totefa", "Jotepha", "Jotefa" and versions of Joseph" although these may all be his own inventions. Gauguin used some of the most potent colours that had been seen in painting up until that point which he explained as his observations of the natural hues of Tahiti and his forgoing of the traditional European studio procedure.It has been interpreted that the painting represents the ending of Gauguin moral crisis and his liberation from the conventions of European culture. It has also been said to represent the Gauguin's fascination with the "primitive"; with the man representing raw masculine power and the woman being a symbol of pre-Christian innocent sexuality.

List of paintings by Paul Gauguin
Paul Gauguin#First visit to Tahiti
Tahiti
Art Institute of Chicago
Paul Gauguin
Category:1891 paintings
Category:Paintings by Paul Gauguin
Category:Paintings in Switzerland
Category:Ships in art
David Sweetman
Papeete
Tahiti period


A Man with an Axe

Prompt: In A Man with an Axe, how is the History discussed?

Paul Gauguin would arrive in Papeete on Tahiti in the summer of 1891. He came looking a simplicity that he had failed to find in Paris. The scene of a man with an axe chopping at a dead tree and a woman arranging nets was one that Gauguin observed in front of his hut. Gauguin referred to this central figure as "Totefa", "Jotepha", "Jotefa" and versions of Joseph" although these may all be his own inventions. Gauguin used some of the most potent colours that had been seen in painting up until that point which he explained as his observations of the natural hues of Tahiti and his forgoing of the traditional European studio procedure.It has been interpreted that the painting represents the ending of Gauguin moral crisis and his liberation from the conventions of European culture. It has also been said to represent the Gauguin's fascination with the "primitive"; with the man representing raw masculine power and the woman being a symbol of pre-Christian innocent sexuality.

List of paintings by Paul Gauguin
Paul Gauguin#First visit to Tahiti
Tahiti
Art Institute of Chicago
Paul Gauguin
Category:1891 paintings
Category:Paintings by Paul Gauguin
Category:Paintings in Switzerland
Category:Ships in art
David Sweetman
Papeete
Tahiti period


Fucine Inlet

Prompt: Focus on Fucine Inlet and explain the abstract.

The Fucine Inlet (Italian: Incile del Fucino) is a monument built on the head of the main emissary of the Fucine Lake in Italy. It is made up of the three-arched bridge of the sluice gates and the about 7-metre-high (23 ft) statue of the Immaculate Conception rising above. It is situated in Borgo Incile, a locality south of the city of Avezzano, in the Fucine plain, Abruzzo, Central Italy. The facility, necessary for the drainage of the Fucine Lake, connects the outer drainage canal to the underground emissary which is served by the system of the Tunnels of Claudius in Mount Salviano. The monument was made in 1876 by architect Carlo Nicola Carnevali.

Entrance to the Claudian-Torlonian emissary

Category:Buildings and structures in Abruzzo

Category:Buildings and structures in Avezzano

Alessandro Torlonia, 2nd Prince of Civitella-Cesi


Fucine Inlet

Prompt: Explain the abstract of this artwork, Fucine Inlet.

The Fucine Inlet (Italian: Incile del Fucino) is a monument built on the head of the main emissary of the Fucine Lake in Italy. It is made up of the three-arched bridge of the sluice gates and the about 7-metre-high (23 ft) statue of the Immaculate Conception rising above. It is situated in Borgo Incile, a locality south of the city of Avezzano, in the Fucine plain, Abruzzo, Central Italy. The facility, necessary for the drainage of the Fucine Lake, connects the outer drainage canal to the underground emissary which is served by the system of the Tunnels of Claudius in Mount Salviano. The monument was made in 1876 by architect Carlo Nicola Carnevali.

Entrance to the Claudian-Torlonian emissary

Category:Buildings and structures in Abruzzo

Category:Buildings and structures in Avezzano

Alessandro Torlonia, 2nd Prince of Civitella-Cesi


Fucine Inlet

Prompt: How does Fucine Inlet explain its abstract?

The Fucine Inlet (Italian: Incile del Fucino) is a monument built on the head of the main emissary of the Fucine Lake in Italy. It is made up of the three-arched bridge of the sluice gates and the about 7-metre-high (23 ft) statue of the Immaculate Conception rising above. It is situated in Borgo Incile, a locality south of the city of Avezzano, in the Fucine plain, Abruzzo, Central Italy. The facility, necessary for the drainage of the Fucine Lake, connects the outer drainage canal to the underground emissary which is served by the system of the Tunnels of Claudius in Mount Salviano. The monument was made in 1876 by architect Carlo Nicola Carnevali.

Entrance to the Claudian-Torlonian emissary

Category:Buildings and structures in Abruzzo

Category:Buildings and structures in Avezzano

Alessandro Torlonia, 2nd Prince of Civitella-Cesi


Fucine Inlet

Prompt: In Fucine Inlet, how is the abstract discussed?

The Fucine Inlet (Italian: Incile del Fucino) is a monument built on the head of the main emissary of the Fucine Lake in Italy. It is made up of the three-arched bridge of the sluice gates and the about 7-metre-high (23 ft) statue of the Immaculate Conception rising above. It is situated in Borgo Incile, a locality south of the city of Avezzano, in the Fucine plain, Abruzzo, Central Italy. The facility, necessary for the drainage of the Fucine Lake, connects the outer drainage canal to the underground emissary which is served by the system of the Tunnels of Claudius in Mount Salviano. The monument was made in 1876 by architect Carlo Nicola Carnevali.

Entrance to the Claudian-Torlonian emissary

Category:Buildings and structures in Abruzzo

Category:Buildings and structures in Avezzano

Alessandro Torlonia, 2nd Prince of Civitella-Cesi