The Flagellation of Christ (Cimabue)

Prompt: In The Flagellation of Christ (Cimabue), how is the abstract discussed?

The Flagellation of Christ is a panel painting by the  Italian artist Cimabue, in egg tempera and gold leaf on a poplar panel, dated to c. 1280. It has been held by the Frick Collection in New York since 1950, and is the only painting by Cimabue in the United States. The Frick Collection acquired the painting from the Knoedler gallery in Paris in 1950. Previously, it had been owned by the antiques dealer M. Rolla at the end of the 19th century, inherited by G. Rolla, and then sold to the art dealer Eduardo Moratilla.The painting depicts the flagellation of Christ, an episode in the Passion. In the painting, Christ, naked but for a loincloth, is bound to a marble column that rises up the centre of the scene, dividing it into two halves.  He is being flogged by two figures, one to either side, in clothing of jarringly cheerful colours.  The anguished Christ regards the viewer calmly. Tall city buildings in the background are depicted with Byzantine reverse perspective frame the scene. The figure of Christ is heavily influenced by that in Cimabue's Santa Croce Crucifix, while the torturers in bright clothing recall the Sienese School and the stylised background buildings the Roman school, the latter influence already taken on by Cimabue's workshop in the Lives of the Apostles in the Upper Basilica at Assisi.The panel measures 24.7 cm × 20 cm (9.7 in × 7.9 in). It is one of three known panels from the Diptych of Devotion, an altarpiece which probably had two wings each with four panels, eight in all. The physical condition of the paint at the edges of the Flagellation of Christ panel indicate that it was at the lower-right corner of a larger composite work. Two other scenes by Cimabue, painted on wood panels of similar size, have been identified as parts of the same altarpiece: the Virgin and Child with Two Angels in the National Gallery in London (discovered in 2000) and The Mocking of Christ in the Louvre (discovered in 2019).Attribution of the work has been problematic since it came to the attention of art historians in the 1950s. It was initially attributed it to the Sienese artist Duccio, but others suggested Cimabue or his workshop. The uncertainty was resolved after the discovery and attribution of the similarly sized Virgin and Child with Two Angels, definitively attributed to Cimabue, which led to a reattribution of the Flagellation of Christ from Duccio to Cimabue. The two panels were exhibited together in Pisa and London in 2005, and at the Frick Collection in 2006.

Virgin and Child with Two Angels (Cimabue)

Category:Paintings of the Flagellation of Jesus

Basilica of Saint Francis of Assisi#Upper Basilica

Category:Paintings in the Frick Collection


Wittelsbacherbrunnen (Lenbachplatz)

Prompt: Focus on Wittelsbacherbrunnen (Lenbachplatz) and explain the abstract.

The Wittelsbacherbrunnen is a monumental fountain located on the northwestern edge of Munich's city center, at the transition between Lenbachplatz and Maximiliansplatz. Constructed between 1893 and 1895, it was designed by sculptor Adolf von Hildebrand in the Neo-Classicist style. The fountain serves as an allegory for the primal forces of water.Due to its calm and clear design, as well as its integration into the urban environment, the Wittelsbacherbrunnen is regarded as one of the most artistically accomplished installations in Munich.

Category:Buildings and structures in Munich

Allegory of the Creative Power of Water.

Allegory of the Destructive Power of Water.


Wittelsbacherbrunnen (Lenbachplatz)

Prompt: Explain the abstract of this artwork, Wittelsbacherbrunnen (Lenbachplatz).

The Wittelsbacherbrunnen is a monumental fountain located on the northwestern edge of Munich's city center, at the transition between Lenbachplatz and Maximiliansplatz. Constructed between 1893 and 1895, it was designed by sculptor Adolf von Hildebrand in the Neo-Classicist style. The fountain serves as an allegory for the primal forces of water.Due to its calm and clear design, as well as its integration into the urban environment, the Wittelsbacherbrunnen is regarded as one of the most artistically accomplished installations in Munich.

Category:Buildings and structures in Munich

Allegory of the Creative Power of Water.

Allegory of the Destructive Power of Water.


Wittelsbacherbrunnen (Lenbachplatz)

Prompt: How does Wittelsbacherbrunnen (Lenbachplatz) explain its abstract?

The Wittelsbacherbrunnen is a monumental fountain located on the northwestern edge of Munich's city center, at the transition between Lenbachplatz and Maximiliansplatz. Constructed between 1893 and 1895, it was designed by sculptor Adolf von Hildebrand in the Neo-Classicist style. The fountain serves as an allegory for the primal forces of water.Due to its calm and clear design, as well as its integration into the urban environment, the Wittelsbacherbrunnen is regarded as one of the most artistically accomplished installations in Munich.

Category:Buildings and structures in Munich

Allegory of the Creative Power of Water.

Allegory of the Destructive Power of Water.


Wittelsbacherbrunnen (Lenbachplatz)

Prompt: In Wittelsbacherbrunnen (Lenbachplatz), how is the abstract discussed?

The Wittelsbacherbrunnen is a monumental fountain located on the northwestern edge of Munich's city center, at the transition between Lenbachplatz and Maximiliansplatz. Constructed between 1893 and 1895, it was designed by sculptor Adolf von Hildebrand in the Neo-Classicist style. The fountain serves as an allegory for the primal forces of water.Due to its calm and clear design, as well as its integration into the urban environment, the Wittelsbacherbrunnen is regarded as one of the most artistically accomplished installations in Munich.

Category:Buildings and structures in Munich

Allegory of the Creative Power of Water.

Allegory of the Destructive Power of Water.


Wittelsbacherbrunnen (Lenbachplatz)

Prompt: Focus on Wittelsbacherbrunnen (Lenbachplatz) and explain the History.

In the early 19th century, there was a renewed interest in the aesthetic principles of classical antiquity, leading to a revival of Renaissance fountain design. As part of the redesign of the area between Karlsplatz and Maximiliansplatz—now Lenbachplatz—a new fountain was commissioned to be built on the remains of the former city wall.The fountain was donated by the city of Munich to commemorate the completion of the city's water supply system in 1883, which sourced spring water from the Mangfall Valley. In 1889, a competition was held to design the fountain, and Adolf von Hildebrand's design was selected. The commission was contingent upon Hildebrand relocating to Munich. After nearly two years of work, with assistance from sculptor Erwin Kurz, the fountain was unveiled on June 12, 1895.The Wittelsbacher Fountain was the first in a series of five monumental fountains designed by Hildebrand in Munich. During World War II, the fountain was severely damaged by air raids. After the war, it was restored by Theodor Georgii, a student of Hildebrand, and was reactivated on October 3, 1952.The Wittelsbacher Fountain on Lenbachplatz should not be confused with another fountain of the same name located in the Fountain Courtyard of the Munich Residence.

Category:Buildings and structures in Munich

Allegory of the Creative Power of Water.

Allegory of the Destructive Power of Water.


Wittelsbacherbrunnen (Lenbachplatz)

Prompt: Explain the History of this artwork, Wittelsbacherbrunnen (Lenbachplatz).

In the early 19th century, there was a renewed interest in the aesthetic principles of classical antiquity, leading to a revival of Renaissance fountain design. As part of the redesign of the area between Karlsplatz and Maximiliansplatz—now Lenbachplatz—a new fountain was commissioned to be built on the remains of the former city wall.The fountain was donated by the city of Munich to commemorate the completion of the city's water supply system in 1883, which sourced spring water from the Mangfall Valley. In 1889, a competition was held to design the fountain, and Adolf von Hildebrand's design was selected. The commission was contingent upon Hildebrand relocating to Munich. After nearly two years of work, with assistance from sculptor Erwin Kurz, the fountain was unveiled on June 12, 1895.The Wittelsbacher Fountain was the first in a series of five monumental fountains designed by Hildebrand in Munich. During World War II, the fountain was severely damaged by air raids. After the war, it was restored by Theodor Georgii, a student of Hildebrand, and was reactivated on October 3, 1952.The Wittelsbacher Fountain on Lenbachplatz should not be confused with another fountain of the same name located in the Fountain Courtyard of the Munich Residence.

Category:Buildings and structures in Munich

Allegory of the Creative Power of Water.

Allegory of the Destructive Power of Water.


Wittelsbacherbrunnen (Lenbachplatz)

Prompt: How does Wittelsbacherbrunnen (Lenbachplatz) explain its History?

In the early 19th century, there was a renewed interest in the aesthetic principles of classical antiquity, leading to a revival of Renaissance fountain design. As part of the redesign of the area between Karlsplatz and Maximiliansplatz—now Lenbachplatz—a new fountain was commissioned to be built on the remains of the former city wall.The fountain was donated by the city of Munich to commemorate the completion of the city's water supply system in 1883, which sourced spring water from the Mangfall Valley. In 1889, a competition was held to design the fountain, and Adolf von Hildebrand's design was selected. The commission was contingent upon Hildebrand relocating to Munich. After nearly two years of work, with assistance from sculptor Erwin Kurz, the fountain was unveiled on June 12, 1895.The Wittelsbacher Fountain was the first in a series of five monumental fountains designed by Hildebrand in Munich. During World War II, the fountain was severely damaged by air raids. After the war, it was restored by Theodor Georgii, a student of Hildebrand, and was reactivated on October 3, 1952.The Wittelsbacher Fountain on Lenbachplatz should not be confused with another fountain of the same name located in the Fountain Courtyard of the Munich Residence.

Category:Buildings and structures in Munich

Allegory of the Creative Power of Water.

Allegory of the Destructive Power of Water.


Wittelsbacherbrunnen (Lenbachplatz)

Prompt: In Wittelsbacherbrunnen (Lenbachplatz), how is the History discussed?

In the early 19th century, there was a renewed interest in the aesthetic principles of classical antiquity, leading to a revival of Renaissance fountain design. As part of the redesign of the area between Karlsplatz and Maximiliansplatz—now Lenbachplatz—a new fountain was commissioned to be built on the remains of the former city wall.The fountain was donated by the city of Munich to commemorate the completion of the city's water supply system in 1883, which sourced spring water from the Mangfall Valley. In 1889, a competition was held to design the fountain, and Adolf von Hildebrand's design was selected. The commission was contingent upon Hildebrand relocating to Munich. After nearly two years of work, with assistance from sculptor Erwin Kurz, the fountain was unveiled on June 12, 1895.The Wittelsbacher Fountain was the first in a series of five monumental fountains designed by Hildebrand in Munich. During World War II, the fountain was severely damaged by air raids. After the war, it was restored by Theodor Georgii, a student of Hildebrand, and was reactivated on October 3, 1952.The Wittelsbacher Fountain on Lenbachplatz should not be confused with another fountain of the same name located in the Fountain Courtyard of the Munich Residence.

Category:Buildings and structures in Munich

Allegory of the Creative Power of Water.

Allegory of the Destructive Power of Water.


Wittelsbacherbrunnen (Lenbachplatz)

Prompt: Focus on Wittelsbacherbrunnen (Lenbachplatz) and explain the Design and architecture.

The fountain features a 25-meter-wide basin in the shape of a semicircle that curves toward the square. The rear of the basin is indented, with two rectangular extensions on either side. Rising from the basin is a central structure resembling a stylized rocky landscape, with a two-tiered limestone bowl featuring reliefs.Flanking the central basin are two large sculptures made of Untersberger marble, which depict figures from classical mythology.The left sculpture portrays a young man riding a fish-tailed water horse emerging from the waves. He holds a boulder, poised to throw it, symbolizing the destructive power of water. This figure alludes to the untamed forces of mountain streams in the source area of Munich's water supply.The right sculpture features an Amazon seated on a fish-tailed water bull rising from the water. She extends a bowl of water toward the viewer, symbolizing the fertile and life-giving potential of water once it has been tamed and channeled for human use.The fountain is illuminated around the clock, except on sunny days.

Category:Buildings and structures in Munich

Allegory of the Creative Power of Water.

Allegory of the Destructive Power of Water.


Wittelsbacherbrunnen (Lenbachplatz)

Prompt: Explain the Design and architecture of this artwork, Wittelsbacherbrunnen (Lenbachplatz).

The fountain features a 25-meter-wide basin in the shape of a semicircle that curves toward the square. The rear of the basin is indented, with two rectangular extensions on either side. Rising from the basin is a central structure resembling a stylized rocky landscape, with a two-tiered limestone bowl featuring reliefs.Flanking the central basin are two large sculptures made of Untersberger marble, which depict figures from classical mythology.The left sculpture portrays a young man riding a fish-tailed water horse emerging from the waves. He holds a boulder, poised to throw it, symbolizing the destructive power of water. This figure alludes to the untamed forces of mountain streams in the source area of Munich's water supply.The right sculpture features an Amazon seated on a fish-tailed water bull rising from the water. She extends a bowl of water toward the viewer, symbolizing the fertile and life-giving potential of water once it has been tamed and channeled for human use.The fountain is illuminated around the clock, except on sunny days.

Category:Buildings and structures in Munich

Allegory of the Creative Power of Water.

Allegory of the Destructive Power of Water.


Wittelsbacherbrunnen (Lenbachplatz)

Prompt: How does Wittelsbacherbrunnen (Lenbachplatz) explain its Design and architecture?

The fountain features a 25-meter-wide basin in the shape of a semicircle that curves toward the square. The rear of the basin is indented, with two rectangular extensions on either side. Rising from the basin is a central structure resembling a stylized rocky landscape, with a two-tiered limestone bowl featuring reliefs.Flanking the central basin are two large sculptures made of Untersberger marble, which depict figures from classical mythology.The left sculpture portrays a young man riding a fish-tailed water horse emerging from the waves. He holds a boulder, poised to throw it, symbolizing the destructive power of water. This figure alludes to the untamed forces of mountain streams in the source area of Munich's water supply.The right sculpture features an Amazon seated on a fish-tailed water bull rising from the water. She extends a bowl of water toward the viewer, symbolizing the fertile and life-giving potential of water once it has been tamed and channeled for human use.The fountain is illuminated around the clock, except on sunny days.

Category:Buildings and structures in Munich

Allegory of the Creative Power of Water.

Allegory of the Destructive Power of Water.


Wittelsbacherbrunnen (Lenbachplatz)

Prompt: In Wittelsbacherbrunnen (Lenbachplatz), how is the Design and architecture discussed?

The fountain features a 25-meter-wide basin in the shape of a semicircle that curves toward the square. The rear of the basin is indented, with two rectangular extensions on either side. Rising from the basin is a central structure resembling a stylized rocky landscape, with a two-tiered limestone bowl featuring reliefs.Flanking the central basin are two large sculptures made of Untersberger marble, which depict figures from classical mythology.The left sculpture portrays a young man riding a fish-tailed water horse emerging from the waves. He holds a boulder, poised to throw it, symbolizing the destructive power of water. This figure alludes to the untamed forces of mountain streams in the source area of Munich's water supply.The right sculpture features an Amazon seated on a fish-tailed water bull rising from the water. She extends a bowl of water toward the viewer, symbolizing the fertile and life-giving potential of water once it has been tamed and channeled for human use.The fountain is illuminated around the clock, except on sunny days.

Category:Buildings and structures in Munich

Allegory of the Creative Power of Water.

Allegory of the Destructive Power of Water.


Autumn exhibition (Leningrad, 1962)

Prompt: Focus on Autumn exhibition (Leningrad, 1962) and explain the abstract.

Autumn Exhibition of Leningrad artists of 1962 (Russian: Осенняя выставка произведений ленинградских художников 1962 года) opened in State Russian Museum become one of the largest Art Exhibition of 1962 in the USSR.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: Explain the abstract of this artwork, Autumn exhibition (Leningrad, 1962).

Autumn Exhibition of Leningrad artists of 1962 (Russian: Осенняя выставка произведений ленинградских художников 1962 года) opened in State Russian Museum become one of the largest Art Exhibition of 1962 in the USSR.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: How does Autumn exhibition (Leningrad, 1962) explain its abstract?

Autumn Exhibition of Leningrad artists of 1962 (Russian: Осенняя выставка произведений ленинградских художников 1962 года) opened in State Russian Museum become one of the largest Art Exhibition of 1962 in the USSR.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: In Autumn exhibition (Leningrad, 1962), how is the abstract discussed?

Autumn Exhibition of Leningrad artists of 1962 (Russian: Осенняя выставка произведений ленинградских художников 1962 года) opened in State Russian Museum become one of the largest Art Exhibition of 1962 in the USSR.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: Focus on Autumn exhibition (Leningrad, 1962) and explain the History and Organization.

For the organization and preparation of Exhibition was formed specially Exhibition Committee which consisted of 25 the most authoritative art-experts. Exhibition Catalog was published. In total, the Exhibition displayed almost 600 works of art of painters, sculptors, graphics, artists of theater and cinema, masters of arts and crafts. At whole Exhibition attended over 350 artists of the Leningrad.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: Explain the History and Organization of this artwork, Autumn exhibition (Leningrad, 1962).

For the organization and preparation of Exhibition was formed specially Exhibition Committee which consisted of 25 the most authoritative art-experts. Exhibition Catalog was published. In total, the Exhibition displayed almost 600 works of art of painters, sculptors, graphics, artists of theater and cinema, masters of arts and crafts. At whole Exhibition attended over 350 artists of the Leningrad.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: How does Autumn exhibition (Leningrad, 1962) explain its History and Organization?

For the organization and preparation of Exhibition was formed specially Exhibition Committee which consisted of 25 the most authoritative art-experts. Exhibition Catalog was published. In total, the Exhibition displayed almost 600 works of art of painters, sculptors, graphics, artists of theater and cinema, masters of arts and crafts. At whole Exhibition attended over 350 artists of the Leningrad.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: In Autumn exhibition (Leningrad, 1962), how is the History and Organization discussed?

For the organization and preparation of Exhibition was formed specially Exhibition Committee which consisted of 25 the most authoritative art-experts. Exhibition Catalog was published. In total, the Exhibition displayed almost 600 works of art of painters, sculptors, graphics, artists of theater and cinema, masters of arts and crafts. At whole Exhibition attended over 350 artists of the Leningrad.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: Focus on Autumn exhibition (Leningrad, 1962) and explain the Contributing Artists.

In the largest Department of Painting were exhibited art works of 177 authors. There were Piotr Alberti, Evgenia Antipova, Taisia Afonina, Sergei Babkov, Irina Baldina, Nikolai Baskakov, Vsevolod Bazhenov, Yuri Belov, Dmitry Belyaev, Olga Bogaevskaya, Nikolai Galakhov, Ivan Godlevsky, Vladimir Gorb, Abram Grushko, Alexei Eremin, Mikhail Kaneev, Maria Kleschar-Samokhvalova, Maya Kopitseva, Boris Korneev, Alexander Koroviakov, Victor Korovin, Elena Kostenko, Gevork Kotiantz, Mikhail Kozell, Engels Kozlov, Marina Kozlovskaya, Yaroslav Krestovsky, Valeria Larina, Boris Lavrenko, Ivan Lavsky, Anatoli Levitin, Oleg Lomakin, Gavriil Malish, Boris Maluev, Evsey Moiseenko, Nikolai Mukho, Piotr Nazarov, Vera Nazina, Mikhail Natarevich, Yaroslav Nikolaev, Dmitry Oboznenko, Lev Orekhov, Lia Ostrova, Vladimir Ovchinnikov, Sergei Osipov, Genrikh Pavlovsky, Varlen Pen, Nikolai Pozdneev, Stepan Privedentsev, Semion Rotnitsky, Galina Rumiantseva, Ivan Savenko, Gleb Savinov, Alexander Semionov, Arseny Semionov, Nadezhda Shteinmiller, Elena Skuin, Kim Slavin, Alexander Sokolov, Alexander Stolbov, Alexander Tatarenko, Victor Teterin, Nikolai Timkov, Mikhail Trufanov, Yuri Tulin, Boris Ugarov, Ivan Varichev, Anatoli Vasiliev, Valery Vatenin, Rostislav Vovkushevsky, Vecheslav Zagonek, Elena Zhukova, and others most prominent painters of the Leningrad School.In the Department of Sculptures were exhibited art works of 41 sculptors. Department of graphics presented a creation of 86 artists.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: Explain the Contributing Artists of this artwork, Autumn exhibition (Leningrad, 1962).

In the largest Department of Painting were exhibited art works of 177 authors. There were Piotr Alberti, Evgenia Antipova, Taisia Afonina, Sergei Babkov, Irina Baldina, Nikolai Baskakov, Vsevolod Bazhenov, Yuri Belov, Dmitry Belyaev, Olga Bogaevskaya, Nikolai Galakhov, Ivan Godlevsky, Vladimir Gorb, Abram Grushko, Alexei Eremin, Mikhail Kaneev, Maria Kleschar-Samokhvalova, Maya Kopitseva, Boris Korneev, Alexander Koroviakov, Victor Korovin, Elena Kostenko, Gevork Kotiantz, Mikhail Kozell, Engels Kozlov, Marina Kozlovskaya, Yaroslav Krestovsky, Valeria Larina, Boris Lavrenko, Ivan Lavsky, Anatoli Levitin, Oleg Lomakin, Gavriil Malish, Boris Maluev, Evsey Moiseenko, Nikolai Mukho, Piotr Nazarov, Vera Nazina, Mikhail Natarevich, Yaroslav Nikolaev, Dmitry Oboznenko, Lev Orekhov, Lia Ostrova, Vladimir Ovchinnikov, Sergei Osipov, Genrikh Pavlovsky, Varlen Pen, Nikolai Pozdneev, Stepan Privedentsev, Semion Rotnitsky, Galina Rumiantseva, Ivan Savenko, Gleb Savinov, Alexander Semionov, Arseny Semionov, Nadezhda Shteinmiller, Elena Skuin, Kim Slavin, Alexander Sokolov, Alexander Stolbov, Alexander Tatarenko, Victor Teterin, Nikolai Timkov, Mikhail Trufanov, Yuri Tulin, Boris Ugarov, Ivan Varichev, Anatoli Vasiliev, Valery Vatenin, Rostislav Vovkushevsky, Vecheslav Zagonek, Elena Zhukova, and others most prominent painters of the Leningrad School.In the Department of Sculptures were exhibited art works of 41 sculptors. Department of graphics presented a creation of 86 artists.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: How does Autumn exhibition (Leningrad, 1962) explain its Contributing Artists?

In the largest Department of Painting were exhibited art works of 177 authors. There were Piotr Alberti, Evgenia Antipova, Taisia Afonina, Sergei Babkov, Irina Baldina, Nikolai Baskakov, Vsevolod Bazhenov, Yuri Belov, Dmitry Belyaev, Olga Bogaevskaya, Nikolai Galakhov, Ivan Godlevsky, Vladimir Gorb, Abram Grushko, Alexei Eremin, Mikhail Kaneev, Maria Kleschar-Samokhvalova, Maya Kopitseva, Boris Korneev, Alexander Koroviakov, Victor Korovin, Elena Kostenko, Gevork Kotiantz, Mikhail Kozell, Engels Kozlov, Marina Kozlovskaya, Yaroslav Krestovsky, Valeria Larina, Boris Lavrenko, Ivan Lavsky, Anatoli Levitin, Oleg Lomakin, Gavriil Malish, Boris Maluev, Evsey Moiseenko, Nikolai Mukho, Piotr Nazarov, Vera Nazina, Mikhail Natarevich, Yaroslav Nikolaev, Dmitry Oboznenko, Lev Orekhov, Lia Ostrova, Vladimir Ovchinnikov, Sergei Osipov, Genrikh Pavlovsky, Varlen Pen, Nikolai Pozdneev, Stepan Privedentsev, Semion Rotnitsky, Galina Rumiantseva, Ivan Savenko, Gleb Savinov, Alexander Semionov, Arseny Semionov, Nadezhda Shteinmiller, Elena Skuin, Kim Slavin, Alexander Sokolov, Alexander Stolbov, Alexander Tatarenko, Victor Teterin, Nikolai Timkov, Mikhail Trufanov, Yuri Tulin, Boris Ugarov, Ivan Varichev, Anatoli Vasiliev, Valery Vatenin, Rostislav Vovkushevsky, Vecheslav Zagonek, Elena Zhukova, and others most prominent painters of the Leningrad School.In the Department of Sculptures were exhibited art works of 41 sculptors. Department of graphics presented a creation of 86 artists.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: In Autumn exhibition (Leningrad, 1962), how is the Contributing Artists discussed?

In the largest Department of Painting were exhibited art works of 177 authors. There were Piotr Alberti, Evgenia Antipova, Taisia Afonina, Sergei Babkov, Irina Baldina, Nikolai Baskakov, Vsevolod Bazhenov, Yuri Belov, Dmitry Belyaev, Olga Bogaevskaya, Nikolai Galakhov, Ivan Godlevsky, Vladimir Gorb, Abram Grushko, Alexei Eremin, Mikhail Kaneev, Maria Kleschar-Samokhvalova, Maya Kopitseva, Boris Korneev, Alexander Koroviakov, Victor Korovin, Elena Kostenko, Gevork Kotiantz, Mikhail Kozell, Engels Kozlov, Marina Kozlovskaya, Yaroslav Krestovsky, Valeria Larina, Boris Lavrenko, Ivan Lavsky, Anatoli Levitin, Oleg Lomakin, Gavriil Malish, Boris Maluev, Evsey Moiseenko, Nikolai Mukho, Piotr Nazarov, Vera Nazina, Mikhail Natarevich, Yaroslav Nikolaev, Dmitry Oboznenko, Lev Orekhov, Lia Ostrova, Vladimir Ovchinnikov, Sergei Osipov, Genrikh Pavlovsky, Varlen Pen, Nikolai Pozdneev, Stepan Privedentsev, Semion Rotnitsky, Galina Rumiantseva, Ivan Savenko, Gleb Savinov, Alexander Semionov, Arseny Semionov, Nadezhda Shteinmiller, Elena Skuin, Kim Slavin, Alexander Sokolov, Alexander Stolbov, Alexander Tatarenko, Victor Teterin, Nikolai Timkov, Mikhail Trufanov, Yuri Tulin, Boris Ugarov, Ivan Varichev, Anatoli Vasiliev, Valery Vatenin, Rostislav Vovkushevsky, Vecheslav Zagonek, Elena Zhukova, and others most prominent painters of the Leningrad School.In the Department of Sculptures were exhibited art works of 41 sculptors. Department of graphics presented a creation of 86 artists.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: Focus on Autumn exhibition (Leningrad, 1962) and explain the Contributed Artworks.

For the Exhibition were selected art works created in 1961-1962, also some earlier works. All they were exhibited in the first time. Some of them were subsequently found in the collections of Soviet Art museums, as well as domestic and foreign galleries and collectors.Portrait was presented of "Portrait of playwriter Alexander Volodin" by Nikolay Akimov, "Astronaut Gherman Titov" by Mikhail Anikushin, "Nurse", "Uzbek woman", "Uzbek Girl" by Irina Baldina, "Portrait of Mikhedko" by Yuri Belov, "Fisherman" by Dmitry Belyaev, "Portrait of son" by Olga Bogaevskaya, "Natasha" by Maria Kleschar-Samokhvalova, "Selfportrait" by Boris Korneev, "Grandmother and grandson" by Elena Kostenko, "Komi Girl" by Engels Kozlov, "Female Portrait (Rosa. Portrait of wife)" by Yaroslav Krestovsky, "Portrait of son", "Portrait of girl" by Valeria Larina, "Portrait of locksmith Znema", "Engineer Natasha Mayboroda", "Portrait of welder Victor Lysitsyn", "Portrait of linguist Gofman", "Plasterer Taisia Tupikova" by Anatoli Levitin, "Man's portrait", "Portrait of girl" by Oleg Lomakin, "Portrait of organist Isaya Braudo" by Lia Ostrova, "Portrait of artist Alexander Pushnin" by Varlen Pen, "Ostap grandfather" by Stepan Privedentsev, "Portrait of Mikhail Birev, notable artist from Kholuy" by Semion Rotnitsky, "Vladimir Mayakovsky" by Konstantin Simun, "Selfportrait" by Alexander Tatarenko, "A Portrait" by Mikhail Trufanov, "Selfportrait" by Valery Vatenin, and others.Genre painting was presented of "Girlfriends", "Veranda" by Piotr Alberti, "Summer" by Nikolai Baskakov, "Construction in Siberia" by Nikolai Galakhov, "Our tents" by Alexei Eremin, "Golden wedding", "School", "A Love", "A Lullaby" by Anatoli Kaplan, "The Muddy Morning" by Boris Korneev, "On vocation" by Gevork Kotiantz, "Northern village" by Engels Kozlov, "Foundation pit in the night" by Anatoli Levitin, "Big Oil", "Astrakhan" by Boris Maluev, "For what?", "Freedom", "Song", "Appell", "Gott mit uns", "He won", "Do not forget" by Evsey Moiseenko, "The Three Ages", "In the sanatorium for children", "At the wattle fence", "Meet the goats", "For grass" by Mikhail Natarevich, "A Sleep" by Vera Nazina, "At the Peter and Paul Fortress" by Lev Orekhov, "Seaport in Tuapse" by Stepan Privedentsev, "Stadium of the factory "Krasnaya Zarya", "Studio of artist Igor Veselkin" by Gleb Savinov, "Ferry in Staraya Ladoga", "Main street in Novaya Ladoga", "Novaya Ladoga in Holiday", "Novaya Ladoga. Pier in fishermen village" by Arseny Semionov, "Leningrad motive" by Kim Slavin, "Staraya Ladoga. Midday on the farm", "Novaya Ladoga. At the buoy keeper" by Alexander Sokolov, "Miners", "On a beach", "In Studio", "Wild beach", "To Moscow" by Mikhail Trufanov, "Turkmen carpet weavers" by Yuri Tulin, "Pskov", "At the seaside" by Boris Ugarov, "On the Komsomol construction" by Anatoli Vasiliev, and others.Landscape and Cityscape were presented of "Apple-tree" by Evgenia Antipova, "On the Zhdanovka River" by Taisia Afonina, "Spring day" by Sergei Babkov, "Olkhon Island" by Dmitry Belyaev, "Gavan district in winter" by Nikolai Galakhov, "Bakhchysarai", "In the town of Pechory" by Ivan Godlevsky, "Little yard" by Vladimir Gavrilov, "Boats", "Pier", "Factory backwater" by Vladimir Gorb, "Winter etude" by Abram Grushko, "On Onega Lake", "Birches", "In the foothills of the Tian Shan" by Alexei Eremin, "Street in Znojmo town", "Spit of Vasilievsky Island" by Mikhail Kaneev, "Chersonesus" by Maria Kleschar-Samokhvalova, "A Spring", "A Winter" by Vladimir Konashevich, "Cloudy day", "Oats", "Highway", "Veranda", "Fields" by Boris Korneev, "The Leningrad", "After Snowfall" by Alexander Koroviakov, "The Muddy Day", "Open yard" by Victor Korovin, "Early March" by Mikhail Kozell, "Oredezh River", "Wyra village" by Marina Kozlovskaya, "The Leningrad. Before sunrise" by Yaroslav Krestovsky, "Vyborg. Fortress", "Borisoglebsk", "Nikitski Monastery in Pereslavl-Zalessky", "Borisoglebsk in winter" by Valeria Larina, "Black River" by Boris Lavrenko, "Windy day" by Ivan Lavsky, "Ice drift on the Yenisei not yet started" by Anatoli Levitin, "Spring", "Valentinovka village" by Oleg Lomakin, "A Morning", "A Road to Mikhaylovskoye village" by Gavriil Malish, "In the sea" by Nikolai Mukho, "A Winter" by Mikhail Natarevich, "Winter evening", "Spring flood" by Piotr Nazarov, "Rainy day", "Moyka River in the night" by Yaroslav Nikolaev, "Kizhi Pogost" by Dmitry Oboznenko, "Spring greens" by Lev Orekhov, "Pskov land", "Pskov street", "Towards evening", "On the Griboyedov Canal in Leningrad", "Winter road" by Sergei Osipov, "Sergei Yesenin's birth house" by Vladimir Ovchinnikov, "Spring etude" by Nikolai Pozdneev, "Ancient Kholuy" by Semion Rotnitsky, "Overcast day" by Galina Rumiantseva, "Spring in Sablino", "February day" by Ivan Savenko, "Staraya Ladoga", "Spring wind", "Outskirts" by Gleb Savinov, "Park in winter" by Alexander Semionov, "Leningrad. Factory motive" by Arseny Semionov, "Rostov the Great", "Old Tower", "Okhta district. View of the factory", "Volodarsky Bridge" by Nadezhda Shteinmiller, "Wet stacks" by Kim Slavin, "February", "Twilight in Staraya Ladoga" by Alexander Sokolov, "Gray day", "A village on the Msta River" by Alexander Stolbov, "Street in Kholuy", "A Porch. The Autumn", "Evening sun", "Landscape" by Nikolai Timkov, "Gurzuf" by Mikhail Trufanov, "Spring in Turkmenistan" by Mikhail Trufanov, "Evening", "A Winter", "Venice" by Boris Ugarov, "Autumn", "Street in Staraya Ladoga", "Last snow", "Staraya Ladoga" by Ivan Varichev, "Spring on the Angara River" by Anatoli Vasiliev, "Volkhov River", "Flowering Bird Cherry", "Winter window", "Twilight" by Vecheslav Zagonek, "October in Crimea", "Lake Ritsa", "Early spring" by Elena Zhukova, and others.Still life paintings were presented of "Wildflowers" by Evgenia Antipova, "Roses", "Still life with oranges", "Still life" by Olga Bogaevskaya, "Roses in Crystal vase", "Bird Cherry tree branches" by Vladimir Konashevich, "Apples and Pears", "Snowdrop flowers", "Yellow flowers" by Maya Kopitseva, "Still life" by Yaroslav Krestovsky, "Jasmine. Still life", "Sunflowers" by Lia Ostrova, "Still Life with Peaches", "Still life with Melon", "Still life with Bananas" by Genrikh Pavlovsky, "Baskets" by Nikolai Pozdneev, "Still life with fish", "Still life with quince" by Elena Skuin, "Larch branches" by Kim Slavin, "Still life" by Victor Teterin, "Still life with radish", "Flowers in white vase", "Still life with Bananas", "Still life with tomatoes", "Still life on the green table-cloth" by Alexander Vedernikov, "Still life" by Rostislav Vovkushevsky, and others.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: Explain the Contributed Artworks of this artwork, Autumn exhibition (Leningrad, 1962).

For the Exhibition were selected art works created in 1961-1962, also some earlier works. All they were exhibited in the first time. Some of them were subsequently found in the collections of Soviet Art museums, as well as domestic and foreign galleries and collectors.Portrait was presented of "Portrait of playwriter Alexander Volodin" by Nikolay Akimov, "Astronaut Gherman Titov" by Mikhail Anikushin, "Nurse", "Uzbek woman", "Uzbek Girl" by Irina Baldina, "Portrait of Mikhedko" by Yuri Belov, "Fisherman" by Dmitry Belyaev, "Portrait of son" by Olga Bogaevskaya, "Natasha" by Maria Kleschar-Samokhvalova, "Selfportrait" by Boris Korneev, "Grandmother and grandson" by Elena Kostenko, "Komi Girl" by Engels Kozlov, "Female Portrait (Rosa. Portrait of wife)" by Yaroslav Krestovsky, "Portrait of son", "Portrait of girl" by Valeria Larina, "Portrait of locksmith Znema", "Engineer Natasha Mayboroda", "Portrait of welder Victor Lysitsyn", "Portrait of linguist Gofman", "Plasterer Taisia Tupikova" by Anatoli Levitin, "Man's portrait", "Portrait of girl" by Oleg Lomakin, "Portrait of organist Isaya Braudo" by Lia Ostrova, "Portrait of artist Alexander Pushnin" by Varlen Pen, "Ostap grandfather" by Stepan Privedentsev, "Portrait of Mikhail Birev, notable artist from Kholuy" by Semion Rotnitsky, "Vladimir Mayakovsky" by Konstantin Simun, "Selfportrait" by Alexander Tatarenko, "A Portrait" by Mikhail Trufanov, "Selfportrait" by Valery Vatenin, and others.Genre painting was presented of "Girlfriends", "Veranda" by Piotr Alberti, "Summer" by Nikolai Baskakov, "Construction in Siberia" by Nikolai Galakhov, "Our tents" by Alexei Eremin, "Golden wedding", "School", "A Love", "A Lullaby" by Anatoli Kaplan, "The Muddy Morning" by Boris Korneev, "On vocation" by Gevork Kotiantz, "Northern village" by Engels Kozlov, "Foundation pit in the night" by Anatoli Levitin, "Big Oil", "Astrakhan" by Boris Maluev, "For what?", "Freedom", "Song", "Appell", "Gott mit uns", "He won", "Do not forget" by Evsey Moiseenko, "The Three Ages", "In the sanatorium for children", "At the wattle fence", "Meet the goats", "For grass" by Mikhail Natarevich, "A Sleep" by Vera Nazina, "At the Peter and Paul Fortress" by Lev Orekhov, "Seaport in Tuapse" by Stepan Privedentsev, "Stadium of the factory "Krasnaya Zarya", "Studio of artist Igor Veselkin" by Gleb Savinov, "Ferry in Staraya Ladoga", "Main street in Novaya Ladoga", "Novaya Ladoga in Holiday", "Novaya Ladoga. Pier in fishermen village" by Arseny Semionov, "Leningrad motive" by Kim Slavin, "Staraya Ladoga. Midday on the farm", "Novaya Ladoga. At the buoy keeper" by Alexander Sokolov, "Miners", "On a beach", "In Studio", "Wild beach", "To Moscow" by Mikhail Trufanov, "Turkmen carpet weavers" by Yuri Tulin, "Pskov", "At the seaside" by Boris Ugarov, "On the Komsomol construction" by Anatoli Vasiliev, and others.Landscape and Cityscape were presented of "Apple-tree" by Evgenia Antipova, "On the Zhdanovka River" by Taisia Afonina, "Spring day" by Sergei Babkov, "Olkhon Island" by Dmitry Belyaev, "Gavan district in winter" by Nikolai Galakhov, "Bakhchysarai", "In the town of Pechory" by Ivan Godlevsky, "Little yard" by Vladimir Gavrilov, "Boats", "Pier", "Factory backwater" by Vladimir Gorb, "Winter etude" by Abram Grushko, "On Onega Lake", "Birches", "In the foothills of the Tian Shan" by Alexei Eremin, "Street in Znojmo town", "Spit of Vasilievsky Island" by Mikhail Kaneev, "Chersonesus" by Maria Kleschar-Samokhvalova, "A Spring", "A Winter" by Vladimir Konashevich, "Cloudy day", "Oats", "Highway", "Veranda", "Fields" by Boris Korneev, "The Leningrad", "After Snowfall" by Alexander Koroviakov, "The Muddy Day", "Open yard" by Victor Korovin, "Early March" by Mikhail Kozell, "Oredezh River", "Wyra village" by Marina Kozlovskaya, "The Leningrad. Before sunrise" by Yaroslav Krestovsky, "Vyborg. Fortress", "Borisoglebsk", "Nikitski Monastery in Pereslavl-Zalessky", "Borisoglebsk in winter" by Valeria Larina, "Black River" by Boris Lavrenko, "Windy day" by Ivan Lavsky, "Ice drift on the Yenisei not yet started" by Anatoli Levitin, "Spring", "Valentinovka village" by Oleg Lomakin, "A Morning", "A Road to Mikhaylovskoye village" by Gavriil Malish, "In the sea" by Nikolai Mukho, "A Winter" by Mikhail Natarevich, "Winter evening", "Spring flood" by Piotr Nazarov, "Rainy day", "Moyka River in the night" by Yaroslav Nikolaev, "Kizhi Pogost" by Dmitry Oboznenko, "Spring greens" by Lev Orekhov, "Pskov land", "Pskov street", "Towards evening", "On the Griboyedov Canal in Leningrad", "Winter road" by Sergei Osipov, "Sergei Yesenin's birth house" by Vladimir Ovchinnikov, "Spring etude" by Nikolai Pozdneev, "Ancient Kholuy" by Semion Rotnitsky, "Overcast day" by Galina Rumiantseva, "Spring in Sablino", "February day" by Ivan Savenko, "Staraya Ladoga", "Spring wind", "Outskirts" by Gleb Savinov, "Park in winter" by Alexander Semionov, "Leningrad. Factory motive" by Arseny Semionov, "Rostov the Great", "Old Tower", "Okhta district. View of the factory", "Volodarsky Bridge" by Nadezhda Shteinmiller, "Wet stacks" by Kim Slavin, "February", "Twilight in Staraya Ladoga" by Alexander Sokolov, "Gray day", "A village on the Msta River" by Alexander Stolbov, "Street in Kholuy", "A Porch. The Autumn", "Evening sun", "Landscape" by Nikolai Timkov, "Gurzuf" by Mikhail Trufanov, "Spring in Turkmenistan" by Mikhail Trufanov, "Evening", "A Winter", "Venice" by Boris Ugarov, "Autumn", "Street in Staraya Ladoga", "Last snow", "Staraya Ladoga" by Ivan Varichev, "Spring on the Angara River" by Anatoli Vasiliev, "Volkhov River", "Flowering Bird Cherry", "Winter window", "Twilight" by Vecheslav Zagonek, "October in Crimea", "Lake Ritsa", "Early spring" by Elena Zhukova, and others.Still life paintings were presented of "Wildflowers" by Evgenia Antipova, "Roses", "Still life with oranges", "Still life" by Olga Bogaevskaya, "Roses in Crystal vase", "Bird Cherry tree branches" by Vladimir Konashevich, "Apples and Pears", "Snowdrop flowers", "Yellow flowers" by Maya Kopitseva, "Still life" by Yaroslav Krestovsky, "Jasmine. Still life", "Sunflowers" by Lia Ostrova, "Still Life with Peaches", "Still life with Melon", "Still life with Bananas" by Genrikh Pavlovsky, "Baskets" by Nikolai Pozdneev, "Still life with fish", "Still life with quince" by Elena Skuin, "Larch branches" by Kim Slavin, "Still life" by Victor Teterin, "Still life with radish", "Flowers in white vase", "Still life with Bananas", "Still life with tomatoes", "Still life on the green table-cloth" by Alexander Vedernikov, "Still life" by Rostislav Vovkushevsky, and others.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: How does Autumn exhibition (Leningrad, 1962) explain its Contributed Artworks?

For the Exhibition were selected art works created in 1961-1962, also some earlier works. All they were exhibited in the first time. Some of them were subsequently found in the collections of Soviet Art museums, as well as domestic and foreign galleries and collectors.Portrait was presented of "Portrait of playwriter Alexander Volodin" by Nikolay Akimov, "Astronaut Gherman Titov" by Mikhail Anikushin, "Nurse", "Uzbek woman", "Uzbek Girl" by Irina Baldina, "Portrait of Mikhedko" by Yuri Belov, "Fisherman" by Dmitry Belyaev, "Portrait of son" by Olga Bogaevskaya, "Natasha" by Maria Kleschar-Samokhvalova, "Selfportrait" by Boris Korneev, "Grandmother and grandson" by Elena Kostenko, "Komi Girl" by Engels Kozlov, "Female Portrait (Rosa. Portrait of wife)" by Yaroslav Krestovsky, "Portrait of son", "Portrait of girl" by Valeria Larina, "Portrait of locksmith Znema", "Engineer Natasha Mayboroda", "Portrait of welder Victor Lysitsyn", "Portrait of linguist Gofman", "Plasterer Taisia Tupikova" by Anatoli Levitin, "Man's portrait", "Portrait of girl" by Oleg Lomakin, "Portrait of organist Isaya Braudo" by Lia Ostrova, "Portrait of artist Alexander Pushnin" by Varlen Pen, "Ostap grandfather" by Stepan Privedentsev, "Portrait of Mikhail Birev, notable artist from Kholuy" by Semion Rotnitsky, "Vladimir Mayakovsky" by Konstantin Simun, "Selfportrait" by Alexander Tatarenko, "A Portrait" by Mikhail Trufanov, "Selfportrait" by Valery Vatenin, and others.Genre painting was presented of "Girlfriends", "Veranda" by Piotr Alberti, "Summer" by Nikolai Baskakov, "Construction in Siberia" by Nikolai Galakhov, "Our tents" by Alexei Eremin, "Golden wedding", "School", "A Love", "A Lullaby" by Anatoli Kaplan, "The Muddy Morning" by Boris Korneev, "On vocation" by Gevork Kotiantz, "Northern village" by Engels Kozlov, "Foundation pit in the night" by Anatoli Levitin, "Big Oil", "Astrakhan" by Boris Maluev, "For what?", "Freedom", "Song", "Appell", "Gott mit uns", "He won", "Do not forget" by Evsey Moiseenko, "The Three Ages", "In the sanatorium for children", "At the wattle fence", "Meet the goats", "For grass" by Mikhail Natarevich, "A Sleep" by Vera Nazina, "At the Peter and Paul Fortress" by Lev Orekhov, "Seaport in Tuapse" by Stepan Privedentsev, "Stadium of the factory "Krasnaya Zarya", "Studio of artist Igor Veselkin" by Gleb Savinov, "Ferry in Staraya Ladoga", "Main street in Novaya Ladoga", "Novaya Ladoga in Holiday", "Novaya Ladoga. Pier in fishermen village" by Arseny Semionov, "Leningrad motive" by Kim Slavin, "Staraya Ladoga. Midday on the farm", "Novaya Ladoga. At the buoy keeper" by Alexander Sokolov, "Miners", "On a beach", "In Studio", "Wild beach", "To Moscow" by Mikhail Trufanov, "Turkmen carpet weavers" by Yuri Tulin, "Pskov", "At the seaside" by Boris Ugarov, "On the Komsomol construction" by Anatoli Vasiliev, and others.Landscape and Cityscape were presented of "Apple-tree" by Evgenia Antipova, "On the Zhdanovka River" by Taisia Afonina, "Spring day" by Sergei Babkov, "Olkhon Island" by Dmitry Belyaev, "Gavan district in winter" by Nikolai Galakhov, "Bakhchysarai", "In the town of Pechory" by Ivan Godlevsky, "Little yard" by Vladimir Gavrilov, "Boats", "Pier", "Factory backwater" by Vladimir Gorb, "Winter etude" by Abram Grushko, "On Onega Lake", "Birches", "In the foothills of the Tian Shan" by Alexei Eremin, "Street in Znojmo town", "Spit of Vasilievsky Island" by Mikhail Kaneev, "Chersonesus" by Maria Kleschar-Samokhvalova, "A Spring", "A Winter" by Vladimir Konashevich, "Cloudy day", "Oats", "Highway", "Veranda", "Fields" by Boris Korneev, "The Leningrad", "After Snowfall" by Alexander Koroviakov, "The Muddy Day", "Open yard" by Victor Korovin, "Early March" by Mikhail Kozell, "Oredezh River", "Wyra village" by Marina Kozlovskaya, "The Leningrad. Before sunrise" by Yaroslav Krestovsky, "Vyborg. Fortress", "Borisoglebsk", "Nikitski Monastery in Pereslavl-Zalessky", "Borisoglebsk in winter" by Valeria Larina, "Black River" by Boris Lavrenko, "Windy day" by Ivan Lavsky, "Ice drift on the Yenisei not yet started" by Anatoli Levitin, "Spring", "Valentinovka village" by Oleg Lomakin, "A Morning", "A Road to Mikhaylovskoye village" by Gavriil Malish, "In the sea" by Nikolai Mukho, "A Winter" by Mikhail Natarevich, "Winter evening", "Spring flood" by Piotr Nazarov, "Rainy day", "Moyka River in the night" by Yaroslav Nikolaev, "Kizhi Pogost" by Dmitry Oboznenko, "Spring greens" by Lev Orekhov, "Pskov land", "Pskov street", "Towards evening", "On the Griboyedov Canal in Leningrad", "Winter road" by Sergei Osipov, "Sergei Yesenin's birth house" by Vladimir Ovchinnikov, "Spring etude" by Nikolai Pozdneev, "Ancient Kholuy" by Semion Rotnitsky, "Overcast day" by Galina Rumiantseva, "Spring in Sablino", "February day" by Ivan Savenko, "Staraya Ladoga", "Spring wind", "Outskirts" by Gleb Savinov, "Park in winter" by Alexander Semionov, "Leningrad. Factory motive" by Arseny Semionov, "Rostov the Great", "Old Tower", "Okhta district. View of the factory", "Volodarsky Bridge" by Nadezhda Shteinmiller, "Wet stacks" by Kim Slavin, "February", "Twilight in Staraya Ladoga" by Alexander Sokolov, "Gray day", "A village on the Msta River" by Alexander Stolbov, "Street in Kholuy", "A Porch. The Autumn", "Evening sun", "Landscape" by Nikolai Timkov, "Gurzuf" by Mikhail Trufanov, "Spring in Turkmenistan" by Mikhail Trufanov, "Evening", "A Winter", "Venice" by Boris Ugarov, "Autumn", "Street in Staraya Ladoga", "Last snow", "Staraya Ladoga" by Ivan Varichev, "Spring on the Angara River" by Anatoli Vasiliev, "Volkhov River", "Flowering Bird Cherry", "Winter window", "Twilight" by Vecheslav Zagonek, "October in Crimea", "Lake Ritsa", "Early spring" by Elena Zhukova, and others.Still life paintings were presented of "Wildflowers" by Evgenia Antipova, "Roses", "Still life with oranges", "Still life" by Olga Bogaevskaya, "Roses in Crystal vase", "Bird Cherry tree branches" by Vladimir Konashevich, "Apples and Pears", "Snowdrop flowers", "Yellow flowers" by Maya Kopitseva, "Still life" by Yaroslav Krestovsky, "Jasmine. Still life", "Sunflowers" by Lia Ostrova, "Still Life with Peaches", "Still life with Melon", "Still life with Bananas" by Genrikh Pavlovsky, "Baskets" by Nikolai Pozdneev, "Still life with fish", "Still life with quince" by Elena Skuin, "Larch branches" by Kim Slavin, "Still life" by Victor Teterin, "Still life with radish", "Flowers in white vase", "Still life with Bananas", "Still life with tomatoes", "Still life on the green table-cloth" by Alexander Vedernikov, "Still life" by Rostislav Vovkushevsky, and others.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: In Autumn exhibition (Leningrad, 1962), how is the Contributed Artworks discussed?

For the Exhibition were selected art works created in 1961-1962, also some earlier works. All they were exhibited in the first time. Some of them were subsequently found in the collections of Soviet Art museums, as well as domestic and foreign galleries and collectors.Portrait was presented of "Portrait of playwriter Alexander Volodin" by Nikolay Akimov, "Astronaut Gherman Titov" by Mikhail Anikushin, "Nurse", "Uzbek woman", "Uzbek Girl" by Irina Baldina, "Portrait of Mikhedko" by Yuri Belov, "Fisherman" by Dmitry Belyaev, "Portrait of son" by Olga Bogaevskaya, "Natasha" by Maria Kleschar-Samokhvalova, "Selfportrait" by Boris Korneev, "Grandmother and grandson" by Elena Kostenko, "Komi Girl" by Engels Kozlov, "Female Portrait (Rosa. Portrait of wife)" by Yaroslav Krestovsky, "Portrait of son", "Portrait of girl" by Valeria Larina, "Portrait of locksmith Znema", "Engineer Natasha Mayboroda", "Portrait of welder Victor Lysitsyn", "Portrait of linguist Gofman", "Plasterer Taisia Tupikova" by Anatoli Levitin, "Man's portrait", "Portrait of girl" by Oleg Lomakin, "Portrait of organist Isaya Braudo" by Lia Ostrova, "Portrait of artist Alexander Pushnin" by Varlen Pen, "Ostap grandfather" by Stepan Privedentsev, "Portrait of Mikhail Birev, notable artist from Kholuy" by Semion Rotnitsky, "Vladimir Mayakovsky" by Konstantin Simun, "Selfportrait" by Alexander Tatarenko, "A Portrait" by Mikhail Trufanov, "Selfportrait" by Valery Vatenin, and others.Genre painting was presented of "Girlfriends", "Veranda" by Piotr Alberti, "Summer" by Nikolai Baskakov, "Construction in Siberia" by Nikolai Galakhov, "Our tents" by Alexei Eremin, "Golden wedding", "School", "A Love", "A Lullaby" by Anatoli Kaplan, "The Muddy Morning" by Boris Korneev, "On vocation" by Gevork Kotiantz, "Northern village" by Engels Kozlov, "Foundation pit in the night" by Anatoli Levitin, "Big Oil", "Astrakhan" by Boris Maluev, "For what?", "Freedom", "Song", "Appell", "Gott mit uns", "He won", "Do not forget" by Evsey Moiseenko, "The Three Ages", "In the sanatorium for children", "At the wattle fence", "Meet the goats", "For grass" by Mikhail Natarevich, "A Sleep" by Vera Nazina, "At the Peter and Paul Fortress" by Lev Orekhov, "Seaport in Tuapse" by Stepan Privedentsev, "Stadium of the factory "Krasnaya Zarya", "Studio of artist Igor Veselkin" by Gleb Savinov, "Ferry in Staraya Ladoga", "Main street in Novaya Ladoga", "Novaya Ladoga in Holiday", "Novaya Ladoga. Pier in fishermen village" by Arseny Semionov, "Leningrad motive" by Kim Slavin, "Staraya Ladoga. Midday on the farm", "Novaya Ladoga. At the buoy keeper" by Alexander Sokolov, "Miners", "On a beach", "In Studio", "Wild beach", "To Moscow" by Mikhail Trufanov, "Turkmen carpet weavers" by Yuri Tulin, "Pskov", "At the seaside" by Boris Ugarov, "On the Komsomol construction" by Anatoli Vasiliev, and others.Landscape and Cityscape were presented of "Apple-tree" by Evgenia Antipova, "On the Zhdanovka River" by Taisia Afonina, "Spring day" by Sergei Babkov, "Olkhon Island" by Dmitry Belyaev, "Gavan district in winter" by Nikolai Galakhov, "Bakhchysarai", "In the town of Pechory" by Ivan Godlevsky, "Little yard" by Vladimir Gavrilov, "Boats", "Pier", "Factory backwater" by Vladimir Gorb, "Winter etude" by Abram Grushko, "On Onega Lake", "Birches", "In the foothills of the Tian Shan" by Alexei Eremin, "Street in Znojmo town", "Spit of Vasilievsky Island" by Mikhail Kaneev, "Chersonesus" by Maria Kleschar-Samokhvalova, "A Spring", "A Winter" by Vladimir Konashevich, "Cloudy day", "Oats", "Highway", "Veranda", "Fields" by Boris Korneev, "The Leningrad", "After Snowfall" by Alexander Koroviakov, "The Muddy Day", "Open yard" by Victor Korovin, "Early March" by Mikhail Kozell, "Oredezh River", "Wyra village" by Marina Kozlovskaya, "The Leningrad. Before sunrise" by Yaroslav Krestovsky, "Vyborg. Fortress", "Borisoglebsk", "Nikitski Monastery in Pereslavl-Zalessky", "Borisoglebsk in winter" by Valeria Larina, "Black River" by Boris Lavrenko, "Windy day" by Ivan Lavsky, "Ice drift on the Yenisei not yet started" by Anatoli Levitin, "Spring", "Valentinovka village" by Oleg Lomakin, "A Morning", "A Road to Mikhaylovskoye village" by Gavriil Malish, "In the sea" by Nikolai Mukho, "A Winter" by Mikhail Natarevich, "Winter evening", "Spring flood" by Piotr Nazarov, "Rainy day", "Moyka River in the night" by Yaroslav Nikolaev, "Kizhi Pogost" by Dmitry Oboznenko, "Spring greens" by Lev Orekhov, "Pskov land", "Pskov street", "Towards evening", "On the Griboyedov Canal in Leningrad", "Winter road" by Sergei Osipov, "Sergei Yesenin's birth house" by Vladimir Ovchinnikov, "Spring etude" by Nikolai Pozdneev, "Ancient Kholuy" by Semion Rotnitsky, "Overcast day" by Galina Rumiantseva, "Spring in Sablino", "February day" by Ivan Savenko, "Staraya Ladoga", "Spring wind", "Outskirts" by Gleb Savinov, "Park in winter" by Alexander Semionov, "Leningrad. Factory motive" by Arseny Semionov, "Rostov the Great", "Old Tower", "Okhta district. View of the factory", "Volodarsky Bridge" by Nadezhda Shteinmiller, "Wet stacks" by Kim Slavin, "February", "Twilight in Staraya Ladoga" by Alexander Sokolov, "Gray day", "A village on the Msta River" by Alexander Stolbov, "Street in Kholuy", "A Porch. The Autumn", "Evening sun", "Landscape" by Nikolai Timkov, "Gurzuf" by Mikhail Trufanov, "Spring in Turkmenistan" by Mikhail Trufanov, "Evening", "A Winter", "Venice" by Boris Ugarov, "Autumn", "Street in Staraya Ladoga", "Last snow", "Staraya Ladoga" by Ivan Varichev, "Spring on the Angara River" by Anatoli Vasiliev, "Volkhov River", "Flowering Bird Cherry", "Winter window", "Twilight" by Vecheslav Zagonek, "October in Crimea", "Lake Ritsa", "Early spring" by Elena Zhukova, and others.Still life paintings were presented of "Wildflowers" by Evgenia Antipova, "Roses", "Still life with oranges", "Still life" by Olga Bogaevskaya, "Roses in Crystal vase", "Bird Cherry tree branches" by Vladimir Konashevich, "Apples and Pears", "Snowdrop flowers", "Yellow flowers" by Maya Kopitseva, "Still life" by Yaroslav Krestovsky, "Jasmine. Still life", "Sunflowers" by Lia Ostrova, "Still Life with Peaches", "Still life with Melon", "Still life with Bananas" by Genrikh Pavlovsky, "Baskets" by Nikolai Pozdneev, "Still life with fish", "Still life with quince" by Elena Skuin, "Larch branches" by Kim Slavin, "Still life" by Victor Teterin, "Still life with radish", "Flowers in white vase", "Still life with Bananas", "Still life with tomatoes", "Still life on the green table-cloth" by Alexander Vedernikov, "Still life" by Rostislav Vovkushevsky, and others.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: Focus on Autumn exhibition (Leningrad, 1962) and explain the Acknowledgment.

Autumn Exhibition of Leningrad artists of 1962 was widely covered in press and in literature on Soviet fine art.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: Explain the Acknowledgment of this artwork, Autumn exhibition (Leningrad, 1962).

Autumn Exhibition of Leningrad artists of 1962 was widely covered in press and in literature on Soviet fine art.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: How does Autumn exhibition (Leningrad, 1962) explain its Acknowledgment?

Autumn Exhibition of Leningrad artists of 1962 was widely covered in press and in literature on Soviet fine art.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Autumn exhibition (Leningrad, 1962)

Prompt: In Autumn exhibition (Leningrad, 1962), how is the Acknowledgment discussed?

Autumn Exhibition of Leningrad artists of 1962 was widely covered in press and in literature on Soviet fine art.

:ru:Ведерников, Александр Семёнович

Old Saint Petersburg Stock Exchange and Rostral Columns


Moses Leaving for Egypt

Prompt: Focus on Moses Leaving for Egypt and explain the abstract.

Moses Leaving for Egypt is a fresco by the Italian Renaissance painter Pietro Perugino and his workshop,  executed around 1482 and located in the Sistine Chapel, Rome. It depicts a journey by the prophet Moses.

File:Perugino, Viaggio di Mosè in Egitto 05.jpg


Moses Leaving for Egypt

Prompt: Explain the abstract of this artwork, Moses Leaving for Egypt.

Moses Leaving for Egypt is a fresco by the Italian Renaissance painter Pietro Perugino and his workshop,  executed around 1482 and located in the Sistine Chapel, Rome. It depicts a journey by the prophet Moses.

File:Perugino, Viaggio di Mosè in Egitto 05.jpg


Moses Leaving for Egypt

Prompt: How does Moses Leaving for Egypt explain its abstract?

Moses Leaving for Egypt is a fresco by the Italian Renaissance painter Pietro Perugino and his workshop,  executed around 1482 and located in the Sistine Chapel, Rome. It depicts a journey by the prophet Moses.

File:Perugino, Viaggio di Mosè in Egitto 05.jpg


Moses Leaving for Egypt

Prompt: In Moses Leaving for Egypt, how is the abstract discussed?

Moses Leaving for Egypt is a fresco by the Italian Renaissance painter Pietro Perugino and his workshop,  executed around 1482 and located in the Sistine Chapel, Rome. It depicts a journey by the prophet Moses.

File:Perugino, Viaggio di Mosè in Egitto 05.jpg


Moses Leaving for Egypt

Prompt: Focus on Moses Leaving for Egypt and explain the History.

The commission of the work originated in 1480, when Perugino was decorating a chapel in the Old St. Peter's Basilica in Rome. Pope Sixtus IV was pleased by his work, and decided to commission him also the decoration of the new Chapel he had built in the Vatican Palace. Due to the size of the work, Perugino was later joined by a group of painters from Florence, including Botticelli, Ghirlandaio and others.Perugino's assistants in the Sistine Chapel included Pinturicchio. Some  figures in the fresco were traditionally attributed to him, but this has been disputed by 20th-century art historians. They were  painted by Andrea d'Assisi, Rocco Zoppo or, less likely, Lo Spagna or Bartolomeo della Gatta, other Perugino's collaborators of the time.

File:Perugino, Viaggio di Mosè in Egitto 05.jpg


Moses Leaving for Egypt

Prompt: Explain the History of this artwork, Moses Leaving for Egypt.

The commission of the work originated in 1480, when Perugino was decorating a chapel in the Old St. Peter's Basilica in Rome. Pope Sixtus IV was pleased by his work, and decided to commission him also the decoration of the new Chapel he had built in the Vatican Palace. Due to the size of the work, Perugino was later joined by a group of painters from Florence, including Botticelli, Ghirlandaio and others.Perugino's assistants in the Sistine Chapel included Pinturicchio. Some  figures in the fresco were traditionally attributed to him, but this has been disputed by 20th-century art historians. They were  painted by Andrea d'Assisi, Rocco Zoppo or, less likely, Lo Spagna or Bartolomeo della Gatta, other Perugino's collaborators of the time.

File:Perugino, Viaggio di Mosè in Egitto 05.jpg


Moses Leaving for Egypt

Prompt: How does Moses Leaving for Egypt explain its History?

The commission of the work originated in 1480, when Perugino was decorating a chapel in the Old St. Peter's Basilica in Rome. Pope Sixtus IV was pleased by his work, and decided to commission him also the decoration of the new Chapel he had built in the Vatican Palace. Due to the size of the work, Perugino was later joined by a group of painters from Florence, including Botticelli, Ghirlandaio and others.Perugino's assistants in the Sistine Chapel included Pinturicchio. Some  figures in the fresco were traditionally attributed to him, but this has been disputed by 20th-century art historians. They were  painted by Andrea d'Assisi, Rocco Zoppo or, less likely, Lo Spagna or Bartolomeo della Gatta, other Perugino's collaborators of the time.

File:Perugino, Viaggio di Mosè in Egitto 05.jpg


Moses Leaving for Egypt

Prompt: In Moses Leaving for Egypt, how is the History discussed?

The commission of the work originated in 1480, when Perugino was decorating a chapel in the Old St. Peter's Basilica in Rome. Pope Sixtus IV was pleased by his work, and decided to commission him also the decoration of the new Chapel he had built in the Vatican Palace. Due to the size of the work, Perugino was later joined by a group of painters from Florence, including Botticelli, Ghirlandaio and others.Perugino's assistants in the Sistine Chapel included Pinturicchio. Some  figures in the fresco were traditionally attributed to him, but this has been disputed by 20th-century art historians. They were  painted by Andrea d'Assisi, Rocco Zoppo or, less likely, Lo Spagna or Bartolomeo della Gatta, other Perugino's collaborators of the time.

File:Perugino, Viaggio di Mosè in Egitto 05.jpg


Moses Leaving for Egypt

Prompt: Focus on Moses Leaving for Egypt and explain the Description.

The fresco depicting the voyage of Moses is the first on the wall right to the altar, and faces the Baptism of Christ on the opposite wall. The painting shows Moses (dressing in yellow and green as in the other frescoes of the cycle) leaving for Egypt, after he had been exiled from Midian, with Zipporah to his right. In the center, an angel asks him to circumcise his son Eliezer (scene on the right), as a sign of the alliance between Yahweh and the Israelites. The baptism, depicted on the opposite fresco, was in fact considered by several early Christian writers, including Augustine, as a kind of "spiritual circumcision". The ceremony is on the right, and includes Zipporah.In the right background Moses and Zipporah are greeting Jethro before leaving. Natural elements include the hill landscape in the background, characterized by thin trees (including a palm, a symbol of Christian sacrifice), and the birds: two of them are mating, an allusion to the renovations cycles of the nature. On the left background is a group of shepherds. The dames with flying dresses were a common element of Florentine early Renaissance painting, used also by Ghirlandaio and Botticelli.

File:Perugino, Viaggio di Mosè in Egitto 05.jpg


Moses Leaving for Egypt

Prompt: Explain the Description of this artwork, Moses Leaving for Egypt.

The fresco depicting the voyage of Moses is the first on the wall right to the altar, and faces the Baptism of Christ on the opposite wall. The painting shows Moses (dressing in yellow and green as in the other frescoes of the cycle) leaving for Egypt, after he had been exiled from Midian, with Zipporah to his right. In the center, an angel asks him to circumcise his son Eliezer (scene on the right), as a sign of the alliance between Yahweh and the Israelites. The baptism, depicted on the opposite fresco, was in fact considered by several early Christian writers, including Augustine, as a kind of "spiritual circumcision". The ceremony is on the right, and includes Zipporah.In the right background Moses and Zipporah are greeting Jethro before leaving. Natural elements include the hill landscape in the background, characterized by thin trees (including a palm, a symbol of Christian sacrifice), and the birds: two of them are mating, an allusion to the renovations cycles of the nature. On the left background is a group of shepherds. The dames with flying dresses were a common element of Florentine early Renaissance painting, used also by Ghirlandaio and Botticelli.

File:Perugino, Viaggio di Mosè in Egitto 05.jpg


Moses Leaving for Egypt

Prompt: How does Moses Leaving for Egypt explain its Description?

The fresco depicting the voyage of Moses is the first on the wall right to the altar, and faces the Baptism of Christ on the opposite wall. The painting shows Moses (dressing in yellow and green as in the other frescoes of the cycle) leaving for Egypt, after he had been exiled from Midian, with Zipporah to his right. In the center, an angel asks him to circumcise his son Eliezer (scene on the right), as a sign of the alliance between Yahweh and the Israelites. The baptism, depicted on the opposite fresco, was in fact considered by several early Christian writers, including Augustine, as a kind of "spiritual circumcision". The ceremony is on the right, and includes Zipporah.In the right background Moses and Zipporah are greeting Jethro before leaving. Natural elements include the hill landscape in the background, characterized by thin trees (including a palm, a symbol of Christian sacrifice), and the birds: two of them are mating, an allusion to the renovations cycles of the nature. On the left background is a group of shepherds. The dames with flying dresses were a common element of Florentine early Renaissance painting, used also by Ghirlandaio and Botticelli.

File:Perugino, Viaggio di Mosè in Egitto 05.jpg


Moses Leaving for Egypt

Prompt: In Moses Leaving for Egypt, how is the Description discussed?

The fresco depicting the voyage of Moses is the first on the wall right to the altar, and faces the Baptism of Christ on the opposite wall. The painting shows Moses (dressing in yellow and green as in the other frescoes of the cycle) leaving for Egypt, after he had been exiled from Midian, with Zipporah to his right. In the center, an angel asks him to circumcise his son Eliezer (scene on the right), as a sign of the alliance between Yahweh and the Israelites. The baptism, depicted on the opposite fresco, was in fact considered by several early Christian writers, including Augustine, as a kind of "spiritual circumcision". The ceremony is on the right, and includes Zipporah.In the right background Moses and Zipporah are greeting Jethro before leaving. Natural elements include the hill landscape in the background, characterized by thin trees (including a palm, a symbol of Christian sacrifice), and the birds: two of them are mating, an allusion to the renovations cycles of the nature. On the left background is a group of shepherds. The dames with flying dresses were a common element of Florentine early Renaissance painting, used also by Ghirlandaio and Botticelli.

File:Perugino, Viaggio di Mosè in Egitto 05.jpg


Saint Catherine Reading

Prompt: Focus on Saint Catherine Reading and explain the abstract.

Saint Catherine Reading is an oil painting by the Italian Renaissance master Antonio da Correggio, painted c. 1530–1532. It is part of the Royal Collection, and is currently on display at Hampton Court Palace, London.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: Explain the abstract of this artwork, Saint Catherine Reading.

Saint Catherine Reading is an oil painting by the Italian Renaissance master Antonio da Correggio, painted c. 1530–1532. It is part of the Royal Collection, and is currently on display at Hampton Court Palace, London.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: How does Saint Catherine Reading explain its abstract?

Saint Catherine Reading is an oil painting by the Italian Renaissance master Antonio da Correggio, painted c. 1530–1532. It is part of the Royal Collection, and is currently on display at Hampton Court Palace, London.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: In Saint Catherine Reading, how is the abstract discussed?

Saint Catherine Reading is an oil painting by the Italian Renaissance master Antonio da Correggio, painted c. 1530–1532. It is part of the Royal Collection, and is currently on display at Hampton Court Palace, London.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: Focus on Saint Catherine Reading and explain the Subject.

The story of St. Catherine is related in the Golden Legend. She was the daughter of "a noble and prudent king" named Costus, "who reigned in Cyprus at the beginning of the third century," and "had to his wife a queen like to himself in virtuous governance." Though good people according to their light, they were pagans and worshippers of idols.Even in her babyhood the child Catherine was "so fair of visage '' that all the people rejoiced at her beauty. At seven years of age she was sent to school, where "she drank plenteously of the well of wisdom." Her father was so delighted with her precocity that he had built a tower containing divers chambers where she might pursue her studies. Seven masters were engaged to teach her, the best and "wisest in conning" that could be found. So rapid was their pupil's progress that she soon outstripped them in knowledge, and from being her masters they became her disciples.When the princess was fourteen, her father died, leaving her heir to his kingdom. A parliament was convened, and the young queen was crowned with great solemnity. Then arose a committee of lords and commons, petitioning her to allow them to seek some noble knight or prince to marry her and defend the kingdom. Now Catherine had secretly resolved not to marry, but she answered with a wisdom not learned altogether from books. She agreed to marry if they would bring her a bridegroom possessing certain qualifications which she knew were impossible to fulfil. This silenced the counsellors, and she continued to reign alone.In the course of time Queen Catherine became a Christian and devoted herself to works of religion and charity. Under her teaching many of her people were converted to the faith. It was a happy kingdom until the Emperor Maxentius chanced to visit the royal city. He was a tyrant who persecuted Christians. Upon his arrival he ordered public sacrifices to idols, and all who would not join in the heathen ceremony were slain. Then Catherine went boldly to meet the emperor and set forth to him the errors of paganism. Though confounded by her eloquence he was not to be convinced by the words of a mere woman. Accordingly he summoned from divers provinces fifty masters "which surmounted all mortal men in worldly wisdom." They were to hold a discussion with the queen and put her to confusion. For all their arguments, however, Catherine had an answer. So complete was her victory that the entire company declared themselves Christians. The angry emperor caused them all to be burned and cast Catherine into prison.Even here she continued her good works, converting the empress and a prince who came to visit her. A new torment was then devised for her. Iron wheels were made, bound with sharp razors, and she was placed between these while they were turned in opposite directions. "And anon as this blessed virgin was set in this torment, the angel of the Lord brake the wheels by so great force that it slew four thousand paynims." Maxentius then commanded that she should be beheaded, and St. Catherine went cheerfully to her death.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: Explain the Subject of this artwork, Saint Catherine Reading.

The story of St. Catherine is related in the Golden Legend. She was the daughter of "a noble and prudent king" named Costus, "who reigned in Cyprus at the beginning of the third century," and "had to his wife a queen like to himself in virtuous governance." Though good people according to their light, they were pagans and worshippers of idols.Even in her babyhood the child Catherine was "so fair of visage '' that all the people rejoiced at her beauty. At seven years of age she was sent to school, where "she drank plenteously of the well of wisdom." Her father was so delighted with her precocity that he had built a tower containing divers chambers where she might pursue her studies. Seven masters were engaged to teach her, the best and "wisest in conning" that could be found. So rapid was their pupil's progress that she soon outstripped them in knowledge, and from being her masters they became her disciples.When the princess was fourteen, her father died, leaving her heir to his kingdom. A parliament was convened, and the young queen was crowned with great solemnity. Then arose a committee of lords and commons, petitioning her to allow them to seek some noble knight or prince to marry her and defend the kingdom. Now Catherine had secretly resolved not to marry, but she answered with a wisdom not learned altogether from books. She agreed to marry if they would bring her a bridegroom possessing certain qualifications which she knew were impossible to fulfil. This silenced the counsellors, and she continued to reign alone.In the course of time Queen Catherine became a Christian and devoted herself to works of religion and charity. Under her teaching many of her people were converted to the faith. It was a happy kingdom until the Emperor Maxentius chanced to visit the royal city. He was a tyrant who persecuted Christians. Upon his arrival he ordered public sacrifices to idols, and all who would not join in the heathen ceremony were slain. Then Catherine went boldly to meet the emperor and set forth to him the errors of paganism. Though confounded by her eloquence he was not to be convinced by the words of a mere woman. Accordingly he summoned from divers provinces fifty masters "which surmounted all mortal men in worldly wisdom." They were to hold a discussion with the queen and put her to confusion. For all their arguments, however, Catherine had an answer. So complete was her victory that the entire company declared themselves Christians. The angry emperor caused them all to be burned and cast Catherine into prison.Even here she continued her good works, converting the empress and a prince who came to visit her. A new torment was then devised for her. Iron wheels were made, bound with sharp razors, and she was placed between these while they were turned in opposite directions. "And anon as this blessed virgin was set in this torment, the angel of the Lord brake the wheels by so great force that it slew four thousand paynims." Maxentius then commanded that she should be beheaded, and St. Catherine went cheerfully to her death.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: How does Saint Catherine Reading explain its Subject?

The story of St. Catherine is related in the Golden Legend. She was the daughter of "a noble and prudent king" named Costus, "who reigned in Cyprus at the beginning of the third century," and "had to his wife a queen like to himself in virtuous governance." Though good people according to their light, they were pagans and worshippers of idols.Even in her babyhood the child Catherine was "so fair of visage '' that all the people rejoiced at her beauty. At seven years of age she was sent to school, where "she drank plenteously of the well of wisdom." Her father was so delighted with her precocity that he had built a tower containing divers chambers where she might pursue her studies. Seven masters were engaged to teach her, the best and "wisest in conning" that could be found. So rapid was their pupil's progress that she soon outstripped them in knowledge, and from being her masters they became her disciples.When the princess was fourteen, her father died, leaving her heir to his kingdom. A parliament was convened, and the young queen was crowned with great solemnity. Then arose a committee of lords and commons, petitioning her to allow them to seek some noble knight or prince to marry her and defend the kingdom. Now Catherine had secretly resolved not to marry, but she answered with a wisdom not learned altogether from books. She agreed to marry if they would bring her a bridegroom possessing certain qualifications which she knew were impossible to fulfil. This silenced the counsellors, and she continued to reign alone.In the course of time Queen Catherine became a Christian and devoted herself to works of religion and charity. Under her teaching many of her people were converted to the faith. It was a happy kingdom until the Emperor Maxentius chanced to visit the royal city. He was a tyrant who persecuted Christians. Upon his arrival he ordered public sacrifices to idols, and all who would not join in the heathen ceremony were slain. Then Catherine went boldly to meet the emperor and set forth to him the errors of paganism. Though confounded by her eloquence he was not to be convinced by the words of a mere woman. Accordingly he summoned from divers provinces fifty masters "which surmounted all mortal men in worldly wisdom." They were to hold a discussion with the queen and put her to confusion. For all their arguments, however, Catherine had an answer. So complete was her victory that the entire company declared themselves Christians. The angry emperor caused them all to be burned and cast Catherine into prison.Even here she continued her good works, converting the empress and a prince who came to visit her. A new torment was then devised for her. Iron wheels were made, bound with sharp razors, and she was placed between these while they were turned in opposite directions. "And anon as this blessed virgin was set in this torment, the angel of the Lord brake the wheels by so great force that it slew four thousand paynims." Maxentius then commanded that she should be beheaded, and St. Catherine went cheerfully to her death.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: In Saint Catherine Reading, how is the Subject discussed?

The story of St. Catherine is related in the Golden Legend. She was the daughter of "a noble and prudent king" named Costus, "who reigned in Cyprus at the beginning of the third century," and "had to his wife a queen like to himself in virtuous governance." Though good people according to their light, they were pagans and worshippers of idols.Even in her babyhood the child Catherine was "so fair of visage '' that all the people rejoiced at her beauty. At seven years of age she was sent to school, where "she drank plenteously of the well of wisdom." Her father was so delighted with her precocity that he had built a tower containing divers chambers where she might pursue her studies. Seven masters were engaged to teach her, the best and "wisest in conning" that could be found. So rapid was their pupil's progress that she soon outstripped them in knowledge, and from being her masters they became her disciples.When the princess was fourteen, her father died, leaving her heir to his kingdom. A parliament was convened, and the young queen was crowned with great solemnity. Then arose a committee of lords and commons, petitioning her to allow them to seek some noble knight or prince to marry her and defend the kingdom. Now Catherine had secretly resolved not to marry, but she answered with a wisdom not learned altogether from books. She agreed to marry if they would bring her a bridegroom possessing certain qualifications which she knew were impossible to fulfil. This silenced the counsellors, and she continued to reign alone.In the course of time Queen Catherine became a Christian and devoted herself to works of religion and charity. Under her teaching many of her people were converted to the faith. It was a happy kingdom until the Emperor Maxentius chanced to visit the royal city. He was a tyrant who persecuted Christians. Upon his arrival he ordered public sacrifices to idols, and all who would not join in the heathen ceremony were slain. Then Catherine went boldly to meet the emperor and set forth to him the errors of paganism. Though confounded by her eloquence he was not to be convinced by the words of a mere woman. Accordingly he summoned from divers provinces fifty masters "which surmounted all mortal men in worldly wisdom." They were to hold a discussion with the queen and put her to confusion. For all their arguments, however, Catherine had an answer. So complete was her victory that the entire company declared themselves Christians. The angry emperor caused them all to be burned and cast Catherine into prison.Even here she continued her good works, converting the empress and a prince who came to visit her. A new torment was then devised for her. Iron wheels were made, bound with sharp razors, and she was placed between these while they were turned in opposite directions. "And anon as this blessed virgin was set in this torment, the angel of the Lord brake the wheels by so great force that it slew four thousand paynims." Maxentius then commanded that she should be beheaded, and St. Catherine went cheerfully to her death.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: Focus on Saint Catherine Reading and explain the Description.

Other virgin martyrs may have been as good and as beautiful as St. Catherine, but none were so wise. She is identified in this picture by the book she holds. Eager to acquire all the treasures of knowledge, she fixes her eyes on the page, absorbed in her occupation. Already she has read more than half the thick volume, smiling with quiet enjoyment as she reads. There is little in the face to suggest the scholar or the bookworm. Estelle May Hurll notes, "Were this a modem picture, we should fancy it a young lady reading her favourite poet. As it is, however, we must believe that the book is some work by Plato or another of the ancient writers whom St. Catherine could quote so readily. We need not wonder that she does not knit her brow over any difficult passages. What might be hard for another to grasp is perfectly clear to her understanding."The beautiful hair coiled over her head is the only coronet the princess wears. There is no sign of her royalty, and Hurll infers "that the picture represents her in those early days of girlhood before the cares of government were laid on the young shoulders." The left arm rests on the rim of a wheel, making a support for the hand holding the book. The wheel is the emblem most frequently associated with St. Catherine, as the reminder of the tortures inflicted by Maxentius. The palm branch caught in the fingers of the left hand is the symbol used alike for all the martyrs. The reference is to that passage in the book of Revelation which describes the saints standing before the throne "with palms in their hands."Hurll writes, "It is pleasant to believe that Correggio took unusual pains with this picture of St. Catherine. The story of the lovely young princess seems to have appealed to his imagination, and he has conceived an ideal figure for her character. The exquisite oval of the face, the delicate features, and the beautiful hair make this one of the most attractive faces in his works."The light falls over the right shoulder, casting one side of the face in shadow. The modulations of light on the chin and neck, and the gradation in the shadow cast by the book on the hand, show Correggio's mastery of chiaroscuro.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: Explain the Description of this artwork, Saint Catherine Reading.

Other virgin martyrs may have been as good and as beautiful as St. Catherine, but none were so wise. She is identified in this picture by the book she holds. Eager to acquire all the treasures of knowledge, she fixes her eyes on the page, absorbed in her occupation. Already she has read more than half the thick volume, smiling with quiet enjoyment as she reads. There is little in the face to suggest the scholar or the bookworm. Estelle May Hurll notes, "Were this a modem picture, we should fancy it a young lady reading her favourite poet. As it is, however, we must believe that the book is some work by Plato or another of the ancient writers whom St. Catherine could quote so readily. We need not wonder that she does not knit her brow over any difficult passages. What might be hard for another to grasp is perfectly clear to her understanding."The beautiful hair coiled over her head is the only coronet the princess wears. There is no sign of her royalty, and Hurll infers "that the picture represents her in those early days of girlhood before the cares of government were laid on the young shoulders." The left arm rests on the rim of a wheel, making a support for the hand holding the book. The wheel is the emblem most frequently associated with St. Catherine, as the reminder of the tortures inflicted by Maxentius. The palm branch caught in the fingers of the left hand is the symbol used alike for all the martyrs. The reference is to that passage in the book of Revelation which describes the saints standing before the throne "with palms in their hands."Hurll writes, "It is pleasant to believe that Correggio took unusual pains with this picture of St. Catherine. The story of the lovely young princess seems to have appealed to his imagination, and he has conceived an ideal figure for her character. The exquisite oval of the face, the delicate features, and the beautiful hair make this one of the most attractive faces in his works."The light falls over the right shoulder, casting one side of the face in shadow. The modulations of light on the chin and neck, and the gradation in the shadow cast by the book on the hand, show Correggio's mastery of chiaroscuro.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: How does Saint Catherine Reading explain its Description?

Other virgin martyrs may have been as good and as beautiful as St. Catherine, but none were so wise. She is identified in this picture by the book she holds. Eager to acquire all the treasures of knowledge, she fixes her eyes on the page, absorbed in her occupation. Already she has read more than half the thick volume, smiling with quiet enjoyment as she reads. There is little in the face to suggest the scholar or the bookworm. Estelle May Hurll notes, "Were this a modem picture, we should fancy it a young lady reading her favourite poet. As it is, however, we must believe that the book is some work by Plato or another of the ancient writers whom St. Catherine could quote so readily. We need not wonder that she does not knit her brow over any difficult passages. What might be hard for another to grasp is perfectly clear to her understanding."The beautiful hair coiled over her head is the only coronet the princess wears. There is no sign of her royalty, and Hurll infers "that the picture represents her in those early days of girlhood before the cares of government were laid on the young shoulders." The left arm rests on the rim of a wheel, making a support for the hand holding the book. The wheel is the emblem most frequently associated with St. Catherine, as the reminder of the tortures inflicted by Maxentius. The palm branch caught in the fingers of the left hand is the symbol used alike for all the martyrs. The reference is to that passage in the book of Revelation which describes the saints standing before the throne "with palms in their hands."Hurll writes, "It is pleasant to believe that Correggio took unusual pains with this picture of St. Catherine. The story of the lovely young princess seems to have appealed to his imagination, and he has conceived an ideal figure for her character. The exquisite oval of the face, the delicate features, and the beautiful hair make this one of the most attractive faces in his works."The light falls over the right shoulder, casting one side of the face in shadow. The modulations of light on the chin and neck, and the gradation in the shadow cast by the book on the hand, show Correggio's mastery of chiaroscuro.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: In Saint Catherine Reading, how is the Description discussed?

Other virgin martyrs may have been as good and as beautiful as St. Catherine, but none were so wise. She is identified in this picture by the book she holds. Eager to acquire all the treasures of knowledge, she fixes her eyes on the page, absorbed in her occupation. Already she has read more than half the thick volume, smiling with quiet enjoyment as she reads. There is little in the face to suggest the scholar or the bookworm. Estelle May Hurll notes, "Were this a modem picture, we should fancy it a young lady reading her favourite poet. As it is, however, we must believe that the book is some work by Plato or another of the ancient writers whom St. Catherine could quote so readily. We need not wonder that she does not knit her brow over any difficult passages. What might be hard for another to grasp is perfectly clear to her understanding."The beautiful hair coiled over her head is the only coronet the princess wears. There is no sign of her royalty, and Hurll infers "that the picture represents her in those early days of girlhood before the cares of government were laid on the young shoulders." The left arm rests on the rim of a wheel, making a support for the hand holding the book. The wheel is the emblem most frequently associated with St. Catherine, as the reminder of the tortures inflicted by Maxentius. The palm branch caught in the fingers of the left hand is the symbol used alike for all the martyrs. The reference is to that passage in the book of Revelation which describes the saints standing before the throne "with palms in their hands."Hurll writes, "It is pleasant to believe that Correggio took unusual pains with this picture of St. Catherine. The story of the lovely young princess seems to have appealed to his imagination, and he has conceived an ideal figure for her character. The exquisite oval of the face, the delicate features, and the beautiful hair make this one of the most attractive faces in his works."The light falls over the right shoulder, casting one side of the face in shadow. The modulations of light on the chin and neck, and the gradation in the shadow cast by the book on the hand, show Correggio's mastery of chiaroscuro.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: Focus on Saint Catherine Reading and explain the History.

Several old copies after this painting elaborate the composition to show Saint Catherine kneeling either full-length or three-quarter length. Usually this sort of evidence indicates that an original painting has been cut down, but that is not the case here: cusping is apparent at all the edges, revealing the stretched edge of the original canvas. Copies of the painting are all roughly the same. Most scholars accept the painting as autograph (that is, painted entirely by Correggio) and date it as one of his last works, c. 1530–1532.The same composition—Saint Catherine half-length, resting on a wheel and holding the palm of a martyr—is found in the work of several north Italian painters, including Cesare de Sesto, Garofalo, Dosso Dossi, and Lorenzo Lotto. There is also a similar, earlier painting by Bernardino Luini in the National Gallery of Denmark, Copenhagen, which may have been inspired by the work or ideas of Luini's master, Leonardo da Vinci.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: Explain the History of this artwork, Saint Catherine Reading.

Several old copies after this painting elaborate the composition to show Saint Catherine kneeling either full-length or three-quarter length. Usually this sort of evidence indicates that an original painting has been cut down, but that is not the case here: cusping is apparent at all the edges, revealing the stretched edge of the original canvas. Copies of the painting are all roughly the same. Most scholars accept the painting as autograph (that is, painted entirely by Correggio) and date it as one of his last works, c. 1530–1532.The same composition—Saint Catherine half-length, resting on a wheel and holding the palm of a martyr—is found in the work of several north Italian painters, including Cesare de Sesto, Garofalo, Dosso Dossi, and Lorenzo Lotto. There is also a similar, earlier painting by Bernardino Luini in the National Gallery of Denmark, Copenhagen, which may have been inspired by the work or ideas of Luini's master, Leonardo da Vinci.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: How does Saint Catherine Reading explain its History?

Several old copies after this painting elaborate the composition to show Saint Catherine kneeling either full-length or three-quarter length. Usually this sort of evidence indicates that an original painting has been cut down, but that is not the case here: cusping is apparent at all the edges, revealing the stretched edge of the original canvas. Copies of the painting are all roughly the same. Most scholars accept the painting as autograph (that is, painted entirely by Correggio) and date it as one of his last works, c. 1530–1532.The same composition—Saint Catherine half-length, resting on a wheel and holding the palm of a martyr—is found in the work of several north Italian painters, including Cesare de Sesto, Garofalo, Dosso Dossi, and Lorenzo Lotto. There is also a similar, earlier painting by Bernardino Luini in the National Gallery of Denmark, Copenhagen, which may have been inspired by the work or ideas of Luini's master, Leonardo da Vinci.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: In Saint Catherine Reading, how is the History discussed?

Several old copies after this painting elaborate the composition to show Saint Catherine kneeling either full-length or three-quarter length. Usually this sort of evidence indicates that an original painting has been cut down, but that is not the case here: cusping is apparent at all the edges, revealing the stretched edge of the original canvas. Copies of the painting are all roughly the same. Most scholars accept the painting as autograph (that is, painted entirely by Correggio) and date it as one of his last works, c. 1530–1532.The same composition—Saint Catherine half-length, resting on a wheel and holding the palm of a martyr—is found in the work of several north Italian painters, including Cesare de Sesto, Garofalo, Dosso Dossi, and Lorenzo Lotto. There is also a similar, earlier painting by Bernardino Luini in the National Gallery of Denmark, Copenhagen, which may have been inspired by the work or ideas of Luini's master, Leonardo da Vinci.

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg