Barbarigo Altarpiece

Prompt: Explain the abstract of this artwork, Barbarigo Altarpiece.

The Barbarigo Altarpiece or Enthroned Madonna and Child with Angel Musicians and Saint Mark, Saint Augustine and Doge Agostino Barbarigo is a 1488 (dated on the throne) oil painting on canvas by Giovanni Bellini, now in the church of San Pietro Martire in Murano.Its commission is unusually well-documented for a work by Bellini. Uniquely Agostino Barbarigo had taken over from his brother Marco Barbarigo as doge. Marco and Agostino were not on good terms and Agostino was even suspected of killing his brother. To quell these rumours, Agostino began commissioning works promoting himself as the heir to and loyal supporter of his brother's work. These included St Mark's Clocktower (Torre dell'Orologio) from Mauro Codussi, and at the Doge's Palace, the monumental steps (Scala dei Giganti) from the brothers Marco and Pietro Lombardo, and a new wing reaching towards the Rio. He also privately commissioned a majestic funeral monument for Marco and himself in Santa Maria della Carità and commissioned Bellini twice, first to produce the official portrait of Marco for the Sala del Maggior Consiglio (1486–87) and then to produce a "large panel", as his ex-voto for the Doge's Palace.

Doge (title)
Saint Mark
doge
Category:Votive offering
Murano
Republic of Venice
Venetian Republic
Giovanni Bellini
Augustine of Hippo
Santa Maria degli Angeli
Titian
Ex-voto
Pietro Lombardo
Marco Barbarigo
ex-voto
Saint Augustine
San Pietro Martire, Murano
San Michele di Murano
Sala del Maggior Consiglio
Mark the Evangelist
Palazzo Barbarigo
Marco Lombardo
Doge
Giorgio Vasari
Mauro Codussi
Marco
Vasari
Category:Paintings by Giovanni Bellini
Santa Maria degli Angeli, Murano
Agostino Barbarigo
History of the Doge's Palace in Venice
San Pietro Martire
San Michele in Isola
Category:1488 paintings
Doge's Palace
Camaldolese
St Mark's Clocktower
Palazzo Barbarigo Nani Mocenigo


Barbarigo Altarpiece

Prompt: How does Barbarigo Altarpiece explain its abstract?

The Barbarigo Altarpiece or Enthroned Madonna and Child with Angel Musicians and Saint Mark, Saint Augustine and Doge Agostino Barbarigo is a 1488 (dated on the throne) oil painting on canvas by Giovanni Bellini, now in the church of San Pietro Martire in Murano.Its commission is unusually well-documented for a work by Bellini. Uniquely Agostino Barbarigo had taken over from his brother Marco Barbarigo as doge. Marco and Agostino were not on good terms and Agostino was even suspected of killing his brother. To quell these rumours, Agostino began commissioning works promoting himself as the heir to and loyal supporter of his brother's work. These included St Mark's Clocktower (Torre dell'Orologio) from Mauro Codussi, and at the Doge's Palace, the monumental steps (Scala dei Giganti) from the brothers Marco and Pietro Lombardo, and a new wing reaching towards the Rio. He also privately commissioned a majestic funeral monument for Marco and himself in Santa Maria della Carità and commissioned Bellini twice, first to produce the official portrait of Marco for the Sala del Maggior Consiglio (1486–87) and then to produce a "large panel", as his ex-voto for the Doge's Palace.

Doge (title)
Saint Mark
doge
Category:Votive offering
Murano
Republic of Venice
Venetian Republic
Giovanni Bellini
Augustine of Hippo
Santa Maria degli Angeli
Titian
Ex-voto
Pietro Lombardo
Marco Barbarigo
ex-voto
Saint Augustine
San Pietro Martire, Murano
San Michele di Murano
Sala del Maggior Consiglio
Mark the Evangelist
Palazzo Barbarigo
Marco Lombardo
Doge
Giorgio Vasari
Mauro Codussi
Marco
Vasari
Category:Paintings by Giovanni Bellini
Santa Maria degli Angeli, Murano
Agostino Barbarigo
History of the Doge's Palace in Venice
San Pietro Martire
San Michele in Isola
Category:1488 paintings
Doge's Palace
Camaldolese
St Mark's Clocktower
Palazzo Barbarigo Nani Mocenigo


Barbarigo Altarpiece

Prompt: In Barbarigo Altarpiece, how is the abstract discussed?

The Barbarigo Altarpiece or Enthroned Madonna and Child with Angel Musicians and Saint Mark, Saint Augustine and Doge Agostino Barbarigo is a 1488 (dated on the throne) oil painting on canvas by Giovanni Bellini, now in the church of San Pietro Martire in Murano.Its commission is unusually well-documented for a work by Bellini. Uniquely Agostino Barbarigo had taken over from his brother Marco Barbarigo as doge. Marco and Agostino were not on good terms and Agostino was even suspected of killing his brother. To quell these rumours, Agostino began commissioning works promoting himself as the heir to and loyal supporter of his brother's work. These included St Mark's Clocktower (Torre dell'Orologio) from Mauro Codussi, and at the Doge's Palace, the monumental steps (Scala dei Giganti) from the brothers Marco and Pietro Lombardo, and a new wing reaching towards the Rio. He also privately commissioned a majestic funeral monument for Marco and himself in Santa Maria della Carità and commissioned Bellini twice, first to produce the official portrait of Marco for the Sala del Maggior Consiglio (1486–87) and then to produce a "large panel", as his ex-voto for the Doge's Palace.

Doge (title)
Saint Mark
doge
Category:Votive offering
Murano
Republic of Venice
Venetian Republic
Giovanni Bellini
Augustine of Hippo
Santa Maria degli Angeli
Titian
Ex-voto
Pietro Lombardo
Marco Barbarigo
ex-voto
Saint Augustine
San Pietro Martire, Murano
San Michele di Murano
Sala del Maggior Consiglio
Mark the Evangelist
Palazzo Barbarigo
Marco Lombardo
Doge
Giorgio Vasari
Mauro Codussi
Marco
Vasari
Category:Paintings by Giovanni Bellini
Santa Maria degli Angeli, Murano
Agostino Barbarigo
History of the Doge's Palace in Venice
San Pietro Martire
San Michele in Isola
Category:1488 paintings
Doge's Palace
Camaldolese
St Mark's Clocktower
Palazzo Barbarigo Nani Mocenigo


Barbarigo Altarpiece

Prompt: Focus on Barbarigo Altarpiece and explain the Ex-voto.

In Venice it became the custom in the Renaissance for the higher officials, beginning with the Doge, to commission (at their personal expense) an ex-voto painting in the form of a portrait of themselves with religious figures, usually the Virgin or saints, in thanks for achieving their office. For lower officials only their coat of arms might represent the official. The painting was hung in the public building where they worked or presided.Aspects of the picture hint at what many contemporaries saw as the excessive self-aggrandizement of the Barberigo brothers. Rather being presented to the Virgin and Child by his name-saint Augustine, as was usual, the Doge is presented by Saint Mark, patron saint of the Venetian Republic, as well as Marco Barberigo.  Instead of looking towards the Child, the Doge looks out towards the Venetians passing the painting. There was opposition to hanging it in the Doge's Palace, which may be why Barberigo instead bequeathed it to a convent (so probably saving it from a later fire).  Before this it apparently hung in his home, the Palazzo Barbarigo Nani Mocenigo (which survives; not the Palazzo Barbarigo).In 1501, already dying, Agostino left the canvas to the nunnery of Santa Maria degli Angeli in Murano to be its high altarpiece, but it was soon moved from there (to make room for Titian's Annunciation) to San Pietro Martire. Vasari mentioned it as being in San Michele di Murano but probably mistook it for another Bellini work, now lost, which was already in the Cappella della Santissima Croce in the church of the Camaldolese.

Doge (title)
Saint Mark
doge
Category:Votive offering
Murano
Republic of Venice
Venetian Republic
Giovanni Bellini
Augustine of Hippo
Santa Maria degli Angeli
Titian
Ex-voto
Pietro Lombardo
Marco Barbarigo
ex-voto
Saint Augustine
San Pietro Martire, Murano
San Michele di Murano
Sala del Maggior Consiglio
Mark the Evangelist
Palazzo Barbarigo
Marco Lombardo
Doge
Giorgio Vasari
Mauro Codussi
Marco
Vasari
Category:Paintings by Giovanni Bellini
Santa Maria degli Angeli, Murano
Agostino Barbarigo
History of the Doge's Palace in Venice
San Pietro Martire
San Michele in Isola
Category:1488 paintings
Doge's Palace
Camaldolese
St Mark's Clocktower
Palazzo Barbarigo Nani Mocenigo


Barbarigo Altarpiece

Prompt: Explain the Ex-voto of this artwork, Barbarigo Altarpiece.

In Venice it became the custom in the Renaissance for the higher officials, beginning with the Doge, to commission (at their personal expense) an ex-voto painting in the form of a portrait of themselves with religious figures, usually the Virgin or saints, in thanks for achieving their office. For lower officials only their coat of arms might represent the official. The painting was hung in the public building where they worked or presided.Aspects of the picture hint at what many contemporaries saw as the excessive self-aggrandizement of the Barberigo brothers. Rather being presented to the Virgin and Child by his name-saint Augustine, as was usual, the Doge is presented by Saint Mark, patron saint of the Venetian Republic, as well as Marco Barberigo.  Instead of looking towards the Child, the Doge looks out towards the Venetians passing the painting. There was opposition to hanging it in the Doge's Palace, which may be why Barberigo instead bequeathed it to a convent (so probably saving it from a later fire).  Before this it apparently hung in his home, the Palazzo Barbarigo Nani Mocenigo (which survives; not the Palazzo Barbarigo).In 1501, already dying, Agostino left the canvas to the nunnery of Santa Maria degli Angeli in Murano to be its high altarpiece, but it was soon moved from there (to make room for Titian's Annunciation) to San Pietro Martire. Vasari mentioned it as being in San Michele di Murano but probably mistook it for another Bellini work, now lost, which was already in the Cappella della Santissima Croce in the church of the Camaldolese.

Doge (title)
Saint Mark
doge
Category:Votive offering
Murano
Republic of Venice
Venetian Republic
Giovanni Bellini
Augustine of Hippo
Santa Maria degli Angeli
Titian
Ex-voto
Pietro Lombardo
Marco Barbarigo
ex-voto
Saint Augustine
San Pietro Martire, Murano
San Michele di Murano
Sala del Maggior Consiglio
Mark the Evangelist
Palazzo Barbarigo
Marco Lombardo
Doge
Giorgio Vasari
Mauro Codussi
Marco
Vasari
Category:Paintings by Giovanni Bellini
Santa Maria degli Angeli, Murano
Agostino Barbarigo
History of the Doge's Palace in Venice
San Pietro Martire
San Michele in Isola
Category:1488 paintings
Doge's Palace
Camaldolese
St Mark's Clocktower
Palazzo Barbarigo Nani Mocenigo


Barbarigo Altarpiece

Prompt: How does Barbarigo Altarpiece explain its Ex-voto?

In Venice it became the custom in the Renaissance for the higher officials, beginning with the Doge, to commission (at their personal expense) an ex-voto painting in the form of a portrait of themselves with religious figures, usually the Virgin or saints, in thanks for achieving their office. For lower officials only their coat of arms might represent the official. The painting was hung in the public building where they worked or presided.Aspects of the picture hint at what many contemporaries saw as the excessive self-aggrandizement of the Barberigo brothers. Rather being presented to the Virgin and Child by his name-saint Augustine, as was usual, the Doge is presented by Saint Mark, patron saint of the Venetian Republic, as well as Marco Barberigo.  Instead of looking towards the Child, the Doge looks out towards the Venetians passing the painting. There was opposition to hanging it in the Doge's Palace, which may be why Barberigo instead bequeathed it to a convent (so probably saving it from a later fire).  Before this it apparently hung in his home, the Palazzo Barbarigo Nani Mocenigo (which survives; not the Palazzo Barbarigo).In 1501, already dying, Agostino left the canvas to the nunnery of Santa Maria degli Angeli in Murano to be its high altarpiece, but it was soon moved from there (to make room for Titian's Annunciation) to San Pietro Martire. Vasari mentioned it as being in San Michele di Murano but probably mistook it for another Bellini work, now lost, which was already in the Cappella della Santissima Croce in the church of the Camaldolese.

Doge (title)
Saint Mark
doge
Category:Votive offering
Murano
Republic of Venice
Venetian Republic
Giovanni Bellini
Augustine of Hippo
Santa Maria degli Angeli
Titian
Ex-voto
Pietro Lombardo
Marco Barbarigo
ex-voto
Saint Augustine
San Pietro Martire, Murano
San Michele di Murano
Sala del Maggior Consiglio
Mark the Evangelist
Palazzo Barbarigo
Marco Lombardo
Doge
Giorgio Vasari
Mauro Codussi
Marco
Vasari
Category:Paintings by Giovanni Bellini
Santa Maria degli Angeli, Murano
Agostino Barbarigo
History of the Doge's Palace in Venice
San Pietro Martire
San Michele in Isola
Category:1488 paintings
Doge's Palace
Camaldolese
St Mark's Clocktower
Palazzo Barbarigo Nani Mocenigo


Barbarigo Altarpiece

Prompt: In Barbarigo Altarpiece, how is the Ex-voto discussed?

In Venice it became the custom in the Renaissance for the higher officials, beginning with the Doge, to commission (at their personal expense) an ex-voto painting in the form of a portrait of themselves with religious figures, usually the Virgin or saints, in thanks for achieving their office. For lower officials only their coat of arms might represent the official. The painting was hung in the public building where they worked or presided.Aspects of the picture hint at what many contemporaries saw as the excessive self-aggrandizement of the Barberigo brothers. Rather being presented to the Virgin and Child by his name-saint Augustine, as was usual, the Doge is presented by Saint Mark, patron saint of the Venetian Republic, as well as Marco Barberigo.  Instead of looking towards the Child, the Doge looks out towards the Venetians passing the painting. There was opposition to hanging it in the Doge's Palace, which may be why Barberigo instead bequeathed it to a convent (so probably saving it from a later fire).  Before this it apparently hung in his home, the Palazzo Barbarigo Nani Mocenigo (which survives; not the Palazzo Barbarigo).In 1501, already dying, Agostino left the canvas to the nunnery of Santa Maria degli Angeli in Murano to be its high altarpiece, but it was soon moved from there (to make room for Titian's Annunciation) to San Pietro Martire. Vasari mentioned it as being in San Michele di Murano but probably mistook it for another Bellini work, now lost, which was already in the Cappella della Santissima Croce in the church of the Camaldolese.

Doge (title)
Saint Mark
doge
Category:Votive offering
Murano
Republic of Venice
Venetian Republic
Giovanni Bellini
Augustine of Hippo
Santa Maria degli Angeli
Titian
Ex-voto
Pietro Lombardo
Marco Barbarigo
ex-voto
Saint Augustine
San Pietro Martire, Murano
San Michele di Murano
Sala del Maggior Consiglio
Mark the Evangelist
Palazzo Barbarigo
Marco Lombardo
Doge
Giorgio Vasari
Mauro Codussi
Marco
Vasari
Category:Paintings by Giovanni Bellini
Santa Maria degli Angeli, Murano
Agostino Barbarigo
History of the Doge's Palace in Venice
San Pietro Martire
San Michele in Isola
Category:1488 paintings
Doge's Palace
Camaldolese
St Mark's Clocktower
Palazzo Barbarigo Nani Mocenigo


Prompt: Focus on Adoration of the Christ Child (Bramantino) and explain the abstract.

Adoration of the Christ Child is a painting in tempera and oils of c. 1485 by the Italian Renaissance painter and architect Bramantino in the Biblioteca Ambrosiana, Milan.

Category:Paintings of Bernardino of Siena

Category:Paintings in the Pinacoteca Ambrosiana

Category:Paintings of Benedict of Nursia


Prompt: Explain the abstract of this artwork, Adoration of the Christ Child (Bramantino).

Adoration of the Christ Child is a painting in tempera and oils of c. 1485 by the Italian Renaissance painter and architect Bramantino in the Biblioteca Ambrosiana, Milan.

Category:Paintings of Bernardino of Siena

Category:Paintings in the Pinacoteca Ambrosiana

Category:Paintings of Benedict of Nursia


Prompt: How does Adoration of the Christ Child (Bramantino) explain its abstract?

Adoration of the Christ Child is a painting in tempera and oils of c. 1485 by the Italian Renaissance painter and architect Bramantino in the Biblioteca Ambrosiana, Milan.

Category:Paintings of Bernardino of Siena

Category:Paintings in the Pinacoteca Ambrosiana

Category:Paintings of Benedict of Nursia


Prompt: In Adoration of the Christ Child (Bramantino), how is the abstract discussed?

Adoration of the Christ Child is a painting in tempera and oils of c. 1485 by the Italian Renaissance painter and architect Bramantino in the Biblioteca Ambrosiana, Milan.

Category:Paintings of Bernardino of Siena

Category:Paintings in the Pinacoteca Ambrosiana

Category:Paintings of Benedict of Nursia


Prompt: Focus on Adoration of the Christ Child (Bramantino) and explain the Description.

Produced for an unknown commissioner from Milan, it shows the Christ Child being adored by the kneeling figures of Bernardino of Siena (recognisable by his grey Franciscan habit), Francis of Assisi (with his stigmata), Benedict of Nursia (in a black Benedictine habit) and the Virgin Mary. Behind them is a group of angel musicians standing on a column base. On the far left and right of the painting are the emperor Augustus and a sibyl in standing poses based on that of the Pothos sculpture. Their presence and that of a Roman arch in the background refer to a passage in the Golden Legend (1.40) in which a sibyl prophesies to Augustus that his Temple of Peace in Rome would crumble the day a virgin gave birth.

Category:Paintings of Bernardino of Siena

Category:Paintings in the Pinacoteca Ambrosiana

Category:Paintings of Benedict of Nursia


Prompt: Explain the Description of this artwork, Adoration of the Christ Child (Bramantino).

Produced for an unknown commissioner from Milan, it shows the Christ Child being adored by the kneeling figures of Bernardino of Siena (recognisable by his grey Franciscan habit), Francis of Assisi (with his stigmata), Benedict of Nursia (in a black Benedictine habit) and the Virgin Mary. Behind them is a group of angel musicians standing on a column base. On the far left and right of the painting are the emperor Augustus and a sibyl in standing poses based on that of the Pothos sculpture. Their presence and that of a Roman arch in the background refer to a passage in the Golden Legend (1.40) in which a sibyl prophesies to Augustus that his Temple of Peace in Rome would crumble the day a virgin gave birth.

Category:Paintings of Bernardino of Siena

Category:Paintings in the Pinacoteca Ambrosiana

Category:Paintings of Benedict of Nursia


Prompt: How does Adoration of the Christ Child (Bramantino) explain its Description?

Produced for an unknown commissioner from Milan, it shows the Christ Child being adored by the kneeling figures of Bernardino of Siena (recognisable by his grey Franciscan habit), Francis of Assisi (with his stigmata), Benedict of Nursia (in a black Benedictine habit) and the Virgin Mary. Behind them is a group of angel musicians standing on a column base. On the far left and right of the painting are the emperor Augustus and a sibyl in standing poses based on that of the Pothos sculpture. Their presence and that of a Roman arch in the background refer to a passage in the Golden Legend (1.40) in which a sibyl prophesies to Augustus that his Temple of Peace in Rome would crumble the day a virgin gave birth.

Category:Paintings of Bernardino of Siena

Category:Paintings in the Pinacoteca Ambrosiana

Category:Paintings of Benedict of Nursia


Prompt: In Adoration of the Christ Child (Bramantino), how is the Description discussed?

Produced for an unknown commissioner from Milan, it shows the Christ Child being adored by the kneeling figures of Bernardino of Siena (recognisable by his grey Franciscan habit), Francis of Assisi (with his stigmata), Benedict of Nursia (in a black Benedictine habit) and the Virgin Mary. Behind them is a group of angel musicians standing on a column base. On the far left and right of the painting are the emperor Augustus and a sibyl in standing poses based on that of the Pothos sculpture. Their presence and that of a Roman arch in the background refer to a passage in the Golden Legend (1.40) in which a sibyl prophesies to Augustus that his Temple of Peace in Rome would crumble the day a virgin gave birth.

Category:Paintings of Bernardino of Siena

Category:Paintings in the Pinacoteca Ambrosiana

Category:Paintings of Benedict of Nursia


St. Anne's Column

Prompt: Focus on St. Anne's Column and explain the abstract.

St. Anne's Column (German: Annasäule) stands in the city centre of Innsbruck on Maria-Theresien-Straße.It was given its name when, in 1703, the last Bavarian troops were driven from the Tyrol on St. Anne's Day (26 July), as part of the War of the Spanish Succession. In 1704, in gratitude, the Landstände vowed to build a monument commemorating the event.The column was made by Trient sculptor, Cristoforo Benedetti, from red Kramsach marble. On the base are four statues of saints:in the north, Saint Anne, the mother of the Blessed Virgin Maryin the west, Cassian, patron saint of the Diocese of Bozen-Brixen.in the east, Vigilius, patron saint of the Diocese of Trient.in the south, Saint George, patron saint of the Tyrol.Towering above these four statues is the column with its statue of Mary as the Woman of the Apocalypse, raising 42 meters (137 feet) from the street.The column was consecrated on 26 July 1706 by Prince-Bishop Kaspar Ignaz, Count of Künigl. It has been restored several times over the centuries. In 1958, mainly for conservation reasons, the figure of Mary was replaced by a replica and the original was loaned to the Abbey of St. Georgenberg-Fiecht, where it has been placed in a side chapel of the abbey church of Fiecht (near Schwaz) above Saint Mary's altar.On 10 October 2009 the figures of saints on the base of the monument were also substituted; the originals are now on the first floor of the Altes Landhaus in Innsbruck.

Roman Catholic Diocese of Bolzano-Brixen

Category:Buildings and structures in Innsbruck

Category:Monuments and memorials in Austria


St. Anne's Column

Prompt: Explain the abstract of this artwork, St. Anne's Column.

St. Anne's Column (German: Annasäule) stands in the city centre of Innsbruck on Maria-Theresien-Straße.It was given its name when, in 1703, the last Bavarian troops were driven from the Tyrol on St. Anne's Day (26 July), as part of the War of the Spanish Succession. In 1704, in gratitude, the Landstände vowed to build a monument commemorating the event.The column was made by Trient sculptor, Cristoforo Benedetti, from red Kramsach marble. On the base are four statues of saints:in the north, Saint Anne, the mother of the Blessed Virgin Maryin the west, Cassian, patron saint of the Diocese of Bozen-Brixen.in the east, Vigilius, patron saint of the Diocese of Trient.in the south, Saint George, patron saint of the Tyrol.Towering above these four statues is the column with its statue of Mary as the Woman of the Apocalypse, raising 42 meters (137 feet) from the street.The column was consecrated on 26 July 1706 by Prince-Bishop Kaspar Ignaz, Count of Künigl. It has been restored several times over the centuries. In 1958, mainly for conservation reasons, the figure of Mary was replaced by a replica and the original was loaned to the Abbey of St. Georgenberg-Fiecht, where it has been placed in a side chapel of the abbey church of Fiecht (near Schwaz) above Saint Mary's altar.On 10 October 2009 the figures of saints on the base of the monument were also substituted; the originals are now on the first floor of the Altes Landhaus in Innsbruck.

Roman Catholic Diocese of Bolzano-Brixen

Category:Buildings and structures in Innsbruck

Category:Monuments and memorials in Austria


St. Anne's Column

Prompt: How does St. Anne's Column explain its abstract?

St. Anne's Column (German: Annasäule) stands in the city centre of Innsbruck on Maria-Theresien-Straße.It was given its name when, in 1703, the last Bavarian troops were driven from the Tyrol on St. Anne's Day (26 July), as part of the War of the Spanish Succession. In 1704, in gratitude, the Landstände vowed to build a monument commemorating the event.The column was made by Trient sculptor, Cristoforo Benedetti, from red Kramsach marble. On the base are four statues of saints:in the north, Saint Anne, the mother of the Blessed Virgin Maryin the west, Cassian, patron saint of the Diocese of Bozen-Brixen.in the east, Vigilius, patron saint of the Diocese of Trient.in the south, Saint George, patron saint of the Tyrol.Towering above these four statues is the column with its statue of Mary as the Woman of the Apocalypse, raising 42 meters (137 feet) from the street.The column was consecrated on 26 July 1706 by Prince-Bishop Kaspar Ignaz, Count of Künigl. It has been restored several times over the centuries. In 1958, mainly for conservation reasons, the figure of Mary was replaced by a replica and the original was loaned to the Abbey of St. Georgenberg-Fiecht, where it has been placed in a side chapel of the abbey church of Fiecht (near Schwaz) above Saint Mary's altar.On 10 October 2009 the figures of saints on the base of the monument were also substituted; the originals are now on the first floor of the Altes Landhaus in Innsbruck.

Roman Catholic Diocese of Bolzano-Brixen

Category:Buildings and structures in Innsbruck

Category:Monuments and memorials in Austria


St. Anne's Column

Prompt: In St. Anne's Column, how is the abstract discussed?

St. Anne's Column (German: Annasäule) stands in the city centre of Innsbruck on Maria-Theresien-Straße.It was given its name when, in 1703, the last Bavarian troops were driven from the Tyrol on St. Anne's Day (26 July), as part of the War of the Spanish Succession. In 1704, in gratitude, the Landstände vowed to build a monument commemorating the event.The column was made by Trient sculptor, Cristoforo Benedetti, from red Kramsach marble. On the base are four statues of saints:in the north, Saint Anne, the mother of the Blessed Virgin Maryin the west, Cassian, patron saint of the Diocese of Bozen-Brixen.in the east, Vigilius, patron saint of the Diocese of Trient.in the south, Saint George, patron saint of the Tyrol.Towering above these four statues is the column with its statue of Mary as the Woman of the Apocalypse, raising 42 meters (137 feet) from the street.The column was consecrated on 26 July 1706 by Prince-Bishop Kaspar Ignaz, Count of Künigl. It has been restored several times over the centuries. In 1958, mainly for conservation reasons, the figure of Mary was replaced by a replica and the original was loaned to the Abbey of St. Georgenberg-Fiecht, where it has been placed in a side chapel of the abbey church of Fiecht (near Schwaz) above Saint Mary's altar.On 10 October 2009 the figures of saints on the base of the monument were also substituted; the originals are now on the first floor of the Altes Landhaus in Innsbruck.

Roman Catholic Diocese of Bolzano-Brixen

Category:Buildings and structures in Innsbruck

Category:Monuments and memorials in Austria


Gravitation (M. C. Escher)

Prompt: Focus on Gravitation (M. C. Escher) and explain the abstract.

Gravitation (also known as Gravity) is a mixed media work by the Dutch artist M. C. Escher completed in June 1952. It was first printed as a black-and-white lithograph and then coloured by hand in watercolour.It depicts a nonconvex regular polyhedron known as the small stellated dodecahedron. Each facet of the figure has a trapezoidal doorway. Out of these doorways protrude the heads and legs of twelve turtles without shells, who are using the object as a common shell. The turtles are in six coloured pairs (red, orange, yellow, magenta, green and indigo) with each turtle directly opposite its counterpart.

Lithography
Harry N. Abrams, Inc.
mixed media
Category:1952 prints
lithograph
trapezoid
Abrams Books
watercolour
Dutch
nonconvex regular polyhedron
Kepler-Poinsot polyhedra
Category:Works by M. C. Escher
Category:Turtles in art
small stellated dodecahedron
Printmaking
watercolor
lithography
M. C. Escher
Netherlands


Gravitation (M. C. Escher)

Prompt: Explain the abstract of this artwork, Gravitation (M. C. Escher).

Gravitation (also known as Gravity) is a mixed media work by the Dutch artist M. C. Escher completed in June 1952. It was first printed as a black-and-white lithograph and then coloured by hand in watercolour.It depicts a nonconvex regular polyhedron known as the small stellated dodecahedron. Each facet of the figure has a trapezoidal doorway. Out of these doorways protrude the heads and legs of twelve turtles without shells, who are using the object as a common shell. The turtles are in six coloured pairs (red, orange, yellow, magenta, green and indigo) with each turtle directly opposite its counterpart.

Lithography
Harry N. Abrams, Inc.
mixed media
Category:1952 prints
lithograph
trapezoid
Abrams Books
watercolour
Dutch
nonconvex regular polyhedron
Kepler-Poinsot polyhedra
Category:Works by M. C. Escher
Category:Turtles in art
small stellated dodecahedron
Printmaking
watercolor
lithography
M. C. Escher
Netherlands


Gravitation (M. C. Escher)

Prompt: How does Gravitation (M. C. Escher) explain its abstract?

Gravitation (also known as Gravity) is a mixed media work by the Dutch artist M. C. Escher completed in June 1952. It was first printed as a black-and-white lithograph and then coloured by hand in watercolour.It depicts a nonconvex regular polyhedron known as the small stellated dodecahedron. Each facet of the figure has a trapezoidal doorway. Out of these doorways protrude the heads and legs of twelve turtles without shells, who are using the object as a common shell. The turtles are in six coloured pairs (red, orange, yellow, magenta, green and indigo) with each turtle directly opposite its counterpart.

Lithography
Harry N. Abrams, Inc.
mixed media
Category:1952 prints
lithograph
trapezoid
Abrams Books
watercolour
Dutch
nonconvex regular polyhedron
Kepler-Poinsot polyhedra
Category:Works by M. C. Escher
Category:Turtles in art
small stellated dodecahedron
Printmaking
watercolor
lithography
M. C. Escher
Netherlands


Gravitation (M. C. Escher)

Prompt: In Gravitation (M. C. Escher), how is the abstract discussed?

Gravitation (also known as Gravity) is a mixed media work by the Dutch artist M. C. Escher completed in June 1952. It was first printed as a black-and-white lithograph and then coloured by hand in watercolour.It depicts a nonconvex regular polyhedron known as the small stellated dodecahedron. Each facet of the figure has a trapezoidal doorway. Out of these doorways protrude the heads and legs of twelve turtles without shells, who are using the object as a common shell. The turtles are in six coloured pairs (red, orange, yellow, magenta, green and indigo) with each turtle directly opposite its counterpart.

Lithography
Harry N. Abrams, Inc.
mixed media
Category:1952 prints
lithograph
trapezoid
Abrams Books
watercolour
Dutch
nonconvex regular polyhedron
Kepler-Poinsot polyhedra
Category:Works by M. C. Escher
Category:Turtles in art
small stellated dodecahedron
Printmaking
watercolor
lithography
M. C. Escher
Netherlands


Virgin of the Burning Bush (Damaskinos)

Prompt: Focus on Virgin of the Burning Bush (Damaskinos) and explain the abstract.

The Virgin of the Burning Bush was a painting made of egg tempera and gold leaf on a wood panel.  The portable icon was signed by Greek painter Michael Damaskinos. Damaskinos has over 100 known works. He was a distinguished member of the Cretan school of painting.  He was from Crete.  His contemporaries included Georgios Klontzas and El Greco.  Damaskinos spent over twenty years traveling all over Italy.  He spent a significant time in Venice.  He adopted Italian artistic mannerisms which he applied to his paintings.  Moses was a biblical figure who received Tablets of Stone inscribed with the Ten Commandments in Mount Sinai, Egypt as written in the Book of Exodus.  In the biblical narrative,  Moses was also appointed by Yahweh to lead the Israelites out of Egypt and into Canaan at the Burning Bush.  Both themes are an integral part of Damaskinos's work.  His painting is a rare depiction of the Virgin and Child with Moses.  The painting served as an inspiration to Ieremias Palladas's painting of  Saint Catherine.  Palladas features some of Damaskinos's work in the background of his painting of the Egyptian martyr.  Both works are a tribute to Catherine of Alexandria and Mount Sinai, Egypt.  The Virgin of the Burning Bush is now in the Monastery of Agia Aikaterini in Heraklion, Crete.

Category:Paintings by Michael Damaskinos


Virgin of the Burning Bush (Damaskinos)

Prompt: Explain the abstract of this artwork, Virgin of the Burning Bush (Damaskinos).

The Virgin of the Burning Bush was a painting made of egg tempera and gold leaf on a wood panel.  The portable icon was signed by Greek painter Michael Damaskinos. Damaskinos has over 100 known works. He was a distinguished member of the Cretan school of painting.  He was from Crete.  His contemporaries included Georgios Klontzas and El Greco.  Damaskinos spent over twenty years traveling all over Italy.  He spent a significant time in Venice.  He adopted Italian artistic mannerisms which he applied to his paintings.  Moses was a biblical figure who received Tablets of Stone inscribed with the Ten Commandments in Mount Sinai, Egypt as written in the Book of Exodus.  In the biblical narrative,  Moses was also appointed by Yahweh to lead the Israelites out of Egypt and into Canaan at the Burning Bush.  Both themes are an integral part of Damaskinos's work.  His painting is a rare depiction of the Virgin and Child with Moses.  The painting served as an inspiration to Ieremias Palladas's painting of  Saint Catherine.  Palladas features some of Damaskinos's work in the background of his painting of the Egyptian martyr.  Both works are a tribute to Catherine of Alexandria and Mount Sinai, Egypt.  The Virgin of the Burning Bush is now in the Monastery of Agia Aikaterini in Heraklion, Crete.

Category:Paintings by Michael Damaskinos


Virgin of the Burning Bush (Damaskinos)

Prompt: How does Virgin of the Burning Bush (Damaskinos) explain its abstract?

The Virgin of the Burning Bush was a painting made of egg tempera and gold leaf on a wood panel.  The portable icon was signed by Greek painter Michael Damaskinos. Damaskinos has over 100 known works. He was a distinguished member of the Cretan school of painting.  He was from Crete.  His contemporaries included Georgios Klontzas and El Greco.  Damaskinos spent over twenty years traveling all over Italy.  He spent a significant time in Venice.  He adopted Italian artistic mannerisms which he applied to his paintings.  Moses was a biblical figure who received Tablets of Stone inscribed with the Ten Commandments in Mount Sinai, Egypt as written in the Book of Exodus.  In the biblical narrative,  Moses was also appointed by Yahweh to lead the Israelites out of Egypt and into Canaan at the Burning Bush.  Both themes are an integral part of Damaskinos's work.  His painting is a rare depiction of the Virgin and Child with Moses.  The painting served as an inspiration to Ieremias Palladas's painting of  Saint Catherine.  Palladas features some of Damaskinos's work in the background of his painting of the Egyptian martyr.  Both works are a tribute to Catherine of Alexandria and Mount Sinai, Egypt.  The Virgin of the Burning Bush is now in the Monastery of Agia Aikaterini in Heraklion, Crete.

Category:Paintings by Michael Damaskinos


Virgin of the Burning Bush (Damaskinos)

Prompt: In Virgin of the Burning Bush (Damaskinos), how is the abstract discussed?

The Virgin of the Burning Bush was a painting made of egg tempera and gold leaf on a wood panel.  The portable icon was signed by Greek painter Michael Damaskinos. Damaskinos has over 100 known works. He was a distinguished member of the Cretan school of painting.  He was from Crete.  His contemporaries included Georgios Klontzas and El Greco.  Damaskinos spent over twenty years traveling all over Italy.  He spent a significant time in Venice.  He adopted Italian artistic mannerisms which he applied to his paintings.  Moses was a biblical figure who received Tablets of Stone inscribed with the Ten Commandments in Mount Sinai, Egypt as written in the Book of Exodus.  In the biblical narrative,  Moses was also appointed by Yahweh to lead the Israelites out of Egypt and into Canaan at the Burning Bush.  Both themes are an integral part of Damaskinos's work.  His painting is a rare depiction of the Virgin and Child with Moses.  The painting served as an inspiration to Ieremias Palladas's painting of  Saint Catherine.  Palladas features some of Damaskinos's work in the background of his painting of the Egyptian martyr.  Both works are a tribute to Catherine of Alexandria and Mount Sinai, Egypt.  The Virgin of the Burning Bush is now in the Monastery of Agia Aikaterini in Heraklion, Crete.

Category:Paintings by Michael Damaskinos


Virgin of the Burning Bush (Damaskinos)

Prompt: Focus on Virgin of the Burning Bush (Damaskinos) and explain the Description.

The painting was created in the second half of the 16th century.  The height of the painting is 43.7 in. (110.9 cm) and the width is 34 in. (86.4 cm).  The material was tempera painting and gold leaf on wood panel.  The icon is roughly the same size as Damaskinos's Adoration of the Kings.  The painting stylistically resembles the Adoration of the Kings.  The central figure in both paintings is against a mountain.  The artist also crowds his figures in both works.  The  Virgin of the Burning Bush is a rare depiction of the Virgin and Child with Moses.  Byzantine theologian John of Damascus wrote about the Burning Bush.  He said the bush was an image of God's Mother, and as Moses was about to approach, God Said: Put off the shoes from thy feet, for the place whereon thou standest is holy ground.   The painting creates a visual story of Moses's encounters with the divine on Mount Sinai incorporating the writings of John of Damascus.  To our left, Moses stands before the Burning Bush.  An angel appears out of the flames, below is another image of Moses removing his sandals.  In the center of the image, the Virgin and Child appear enthroned within the Burning Bush (Θεοτόκος ή Βάτις).  In the lower right-hand corner John of Damascus holds a scroll.  In the background, two scenes from Moses's life from the Book of Exodus are present.  To the left of the mountain, Moses strikes the rock with his holy staff and a spring appears for the Israelites to drink.  To the right of the mountain, the scene of the Golden calf is depicted.  At the top of the image, God and angles are passing the tablets to Moses.  The final scene is of angels bringing Saint Catherine's body to Jebel Katrina, one of the three peaks of Mount Sinai.  The painting follows the typical Damaskinos technique.  His painting features the Italian renaissance cangiante. The Virgin is enthroned in the Burning Bush following the traditional hodegetria stance.   The Burning Bush is depicted as receding into space. The figures in the foreground of Moses and John of Damascus promote three-dimensionality namely in the drapery folds.  Moses is at the peak of the middle mountain above the Virgin Mary.  Moses and the faces of the figures around him are facing the Virgin Mary.  There are also two other mountains.  All three mountains form a triangle They are painted in the traditional Cretan style.  The artist clearly creates a visual distinction of spatial depth.

Category:Paintings by Michael Damaskinos


Virgin of the Burning Bush (Damaskinos)

Prompt: Explain the Description of this artwork, Virgin of the Burning Bush (Damaskinos).

The painting was created in the second half of the 16th century.  The height of the painting is 43.7 in. (110.9 cm) and the width is 34 in. (86.4 cm).  The material was tempera painting and gold leaf on wood panel.  The icon is roughly the same size as Damaskinos's Adoration of the Kings.  The painting stylistically resembles the Adoration of the Kings.  The central figure in both paintings is against a mountain.  The artist also crowds his figures in both works.  The  Virgin of the Burning Bush is a rare depiction of the Virgin and Child with Moses.  Byzantine theologian John of Damascus wrote about the Burning Bush.  He said the bush was an image of God's Mother, and as Moses was about to approach, God Said: Put off the shoes from thy feet, for the place whereon thou standest is holy ground.   The painting creates a visual story of Moses's encounters with the divine on Mount Sinai incorporating the writings of John of Damascus.  To our left, Moses stands before the Burning Bush.  An angel appears out of the flames, below is another image of Moses removing his sandals.  In the center of the image, the Virgin and Child appear enthroned within the Burning Bush (Θεοτόκος ή Βάτις).  In the lower right-hand corner John of Damascus holds a scroll.  In the background, two scenes from Moses's life from the Book of Exodus are present.  To the left of the mountain, Moses strikes the rock with his holy staff and a spring appears for the Israelites to drink.  To the right of the mountain, the scene of the Golden calf is depicted.  At the top of the image, God and angles are passing the tablets to Moses.  The final scene is of angels bringing Saint Catherine's body to Jebel Katrina, one of the three peaks of Mount Sinai.  The painting follows the typical Damaskinos technique.  His painting features the Italian renaissance cangiante. The Virgin is enthroned in the Burning Bush following the traditional hodegetria stance.   The Burning Bush is depicted as receding into space. The figures in the foreground of Moses and John of Damascus promote three-dimensionality namely in the drapery folds.  Moses is at the peak of the middle mountain above the Virgin Mary.  Moses and the faces of the figures around him are facing the Virgin Mary.  There are also two other mountains.  All three mountains form a triangle They are painted in the traditional Cretan style.  The artist clearly creates a visual distinction of spatial depth.

Category:Paintings by Michael Damaskinos


Virgin of the Burning Bush (Damaskinos)

Prompt: How does Virgin of the Burning Bush (Damaskinos) explain its Description?

The painting was created in the second half of the 16th century.  The height of the painting is 43.7 in. (110.9 cm) and the width is 34 in. (86.4 cm).  The material was tempera painting and gold leaf on wood panel.  The icon is roughly the same size as Damaskinos's Adoration of the Kings.  The painting stylistically resembles the Adoration of the Kings.  The central figure in both paintings is against a mountain.  The artist also crowds his figures in both works.  The  Virgin of the Burning Bush is a rare depiction of the Virgin and Child with Moses.  Byzantine theologian John of Damascus wrote about the Burning Bush.  He said the bush was an image of God's Mother, and as Moses was about to approach, God Said: Put off the shoes from thy feet, for the place whereon thou standest is holy ground.   The painting creates a visual story of Moses's encounters with the divine on Mount Sinai incorporating the writings of John of Damascus.  To our left, Moses stands before the Burning Bush.  An angel appears out of the flames, below is another image of Moses removing his sandals.  In the center of the image, the Virgin and Child appear enthroned within the Burning Bush (Θεοτόκος ή Βάτις).  In the lower right-hand corner John of Damascus holds a scroll.  In the background, two scenes from Moses's life from the Book of Exodus are present.  To the left of the mountain, Moses strikes the rock with his holy staff and a spring appears for the Israelites to drink.  To the right of the mountain, the scene of the Golden calf is depicted.  At the top of the image, God and angles are passing the tablets to Moses.  The final scene is of angels bringing Saint Catherine's body to Jebel Katrina, one of the three peaks of Mount Sinai.  The painting follows the typical Damaskinos technique.  His painting features the Italian renaissance cangiante. The Virgin is enthroned in the Burning Bush following the traditional hodegetria stance.   The Burning Bush is depicted as receding into space. The figures in the foreground of Moses and John of Damascus promote three-dimensionality namely in the drapery folds.  Moses is at the peak of the middle mountain above the Virgin Mary.  Moses and the faces of the figures around him are facing the Virgin Mary.  There are also two other mountains.  All three mountains form a triangle They are painted in the traditional Cretan style.  The artist clearly creates a visual distinction of spatial depth.

Category:Paintings by Michael Damaskinos


Virgin of the Burning Bush (Damaskinos)

Prompt: In Virgin of the Burning Bush (Damaskinos), how is the Description discussed?

The painting was created in the second half of the 16th century.  The height of the painting is 43.7 in. (110.9 cm) and the width is 34 in. (86.4 cm).  The material was tempera painting and gold leaf on wood panel.  The icon is roughly the same size as Damaskinos's Adoration of the Kings.  The painting stylistically resembles the Adoration of the Kings.  The central figure in both paintings is against a mountain.  The artist also crowds his figures in both works.  The  Virgin of the Burning Bush is a rare depiction of the Virgin and Child with Moses.  Byzantine theologian John of Damascus wrote about the Burning Bush.  He said the bush was an image of God's Mother, and as Moses was about to approach, God Said: Put off the shoes from thy feet, for the place whereon thou standest is holy ground.   The painting creates a visual story of Moses's encounters with the divine on Mount Sinai incorporating the writings of John of Damascus.  To our left, Moses stands before the Burning Bush.  An angel appears out of the flames, below is another image of Moses removing his sandals.  In the center of the image, the Virgin and Child appear enthroned within the Burning Bush (Θεοτόκος ή Βάτις).  In the lower right-hand corner John of Damascus holds a scroll.  In the background, two scenes from Moses's life from the Book of Exodus are present.  To the left of the mountain, Moses strikes the rock with his holy staff and a spring appears for the Israelites to drink.  To the right of the mountain, the scene of the Golden calf is depicted.  At the top of the image, God and angles are passing the tablets to Moses.  The final scene is of angels bringing Saint Catherine's body to Jebel Katrina, one of the three peaks of Mount Sinai.  The painting follows the typical Damaskinos technique.  His painting features the Italian renaissance cangiante. The Virgin is enthroned in the Burning Bush following the traditional hodegetria stance.   The Burning Bush is depicted as receding into space. The figures in the foreground of Moses and John of Damascus promote three-dimensionality namely in the drapery folds.  Moses is at the peak of the middle mountain above the Virgin Mary.  Moses and the faces of the figures around him are facing the Virgin Mary.  There are also two other mountains.  All three mountains form a triangle They are painted in the traditional Cretan style.  The artist clearly creates a visual distinction of spatial depth.

Category:Paintings by Michael Damaskinos


Alfred Tredway White Memorial

Prompt: Focus on Alfred Tredway White Memorial and explain the abstract.

The Alfred Tredway White Memorial is a memorial by American sculptor Daniel Chester French dedicated to Alfred Tredway White. It is located in the Brooklyn Botanic Garden, in the U.S. state of New York. White was an early benefactor of the Brooklyn Botanic Garden.

Category:Monuments and memorials in Brooklyn

Category:1923 establishments in New York City

Category:Sculptures by Daniel Chester French

Category:Allegorical sculptures in New York City

Public sculptures by Daniel Chester French

Category:1990 establishments in New York City

Category:Sculptures of women in New York City


Alfred Tredway White Memorial

Prompt: Explain the abstract of this artwork, Alfred Tredway White Memorial.

The Alfred Tredway White Memorial is a memorial by American sculptor Daniel Chester French dedicated to Alfred Tredway White. It is located in the Brooklyn Botanic Garden, in the U.S. state of New York. White was an early benefactor of the Brooklyn Botanic Garden.

Category:Monuments and memorials in Brooklyn

Category:1923 establishments in New York City

Category:Sculptures by Daniel Chester French

Category:Allegorical sculptures in New York City

Public sculptures by Daniel Chester French

Category:1990 establishments in New York City

Category:Sculptures of women in New York City


Alfred Tredway White Memorial

Prompt: How does Alfred Tredway White Memorial explain its abstract?

The Alfred Tredway White Memorial is a memorial by American sculptor Daniel Chester French dedicated to Alfred Tredway White. It is located in the Brooklyn Botanic Garden, in the U.S. state of New York. White was an early benefactor of the Brooklyn Botanic Garden.

Category:Monuments and memorials in Brooklyn

Category:1923 establishments in New York City

Category:Sculptures by Daniel Chester French

Category:Allegorical sculptures in New York City

Public sculptures by Daniel Chester French

Category:1990 establishments in New York City

Category:Sculptures of women in New York City


Alfred Tredway White Memorial

Prompt: In Alfred Tredway White Memorial, how is the abstract discussed?

The Alfred Tredway White Memorial is a memorial by American sculptor Daniel Chester French dedicated to Alfred Tredway White. It is located in the Brooklyn Botanic Garden, in the U.S. state of New York. White was an early benefactor of the Brooklyn Botanic Garden.

Category:Monuments and memorials in Brooklyn

Category:1923 establishments in New York City

Category:Sculptures by Daniel Chester French

Category:Allegorical sculptures in New York City

Public sculptures by Daniel Chester French

Category:1990 establishments in New York City

Category:Sculptures of women in New York City


Alfred Tredway White Memorial

Prompt: Focus on Alfred Tredway White Memorial and explain the Description.

The sculpture allegorically depicts White's association with the Botanic Garden with a bas-relief of Mother Nature removing branches from a laurel bush to make a wreath. In addition to his name and years, engraved are the words, "Lover of Nature · Helper of Mankind · Beloved of All".The monument was dedicated on June 7, 1923, but the original stele by architect Henry Bacon was destroyed and the original moved to the Botanic Garden auditorium. A replacement was erected in 1990.

Category:Monuments and memorials in Brooklyn

Category:1923 establishments in New York City

Category:Sculptures by Daniel Chester French

Category:Allegorical sculptures in New York City

Public sculptures by Daniel Chester French

Category:1990 establishments in New York City

Category:Sculptures of women in New York City


Alfred Tredway White Memorial

Prompt: Explain the Description of this artwork, Alfred Tredway White Memorial.

The sculpture allegorically depicts White's association with the Botanic Garden with a bas-relief of Mother Nature removing branches from a laurel bush to make a wreath. In addition to his name and years, engraved are the words, "Lover of Nature · Helper of Mankind · Beloved of All".The monument was dedicated on June 7, 1923, but the original stele by architect Henry Bacon was destroyed and the original moved to the Botanic Garden auditorium. A replacement was erected in 1990.

Category:Monuments and memorials in Brooklyn

Category:1923 establishments in New York City

Category:Sculptures by Daniel Chester French

Category:Allegorical sculptures in New York City

Public sculptures by Daniel Chester French

Category:1990 establishments in New York City

Category:Sculptures of women in New York City


Alfred Tredway White Memorial

Prompt: How does Alfred Tredway White Memorial explain its Description?

The sculpture allegorically depicts White's association with the Botanic Garden with a bas-relief of Mother Nature removing branches from a laurel bush to make a wreath. In addition to his name and years, engraved are the words, "Lover of Nature · Helper of Mankind · Beloved of All".The monument was dedicated on June 7, 1923, but the original stele by architect Henry Bacon was destroyed and the original moved to the Botanic Garden auditorium. A replacement was erected in 1990.

Category:Monuments and memorials in Brooklyn

Category:1923 establishments in New York City

Category:Sculptures by Daniel Chester French

Category:Allegorical sculptures in New York City

Public sculptures by Daniel Chester French

Category:1990 establishments in New York City

Category:Sculptures of women in New York City


Alfred Tredway White Memorial

Prompt: In Alfred Tredway White Memorial, how is the Description discussed?

The sculpture allegorically depicts White's association with the Botanic Garden with a bas-relief of Mother Nature removing branches from a laurel bush to make a wreath. In addition to his name and years, engraved are the words, "Lover of Nature · Helper of Mankind · Beloved of All".The monument was dedicated on June 7, 1923, but the original stele by architect Henry Bacon was destroyed and the original moved to the Botanic Garden auditorium. A replacement was erected in 1990.

Category:Monuments and memorials in Brooklyn

Category:1923 establishments in New York City

Category:Sculptures by Daniel Chester French

Category:Allegorical sculptures in New York City

Public sculptures by Daniel Chester French

Category:1990 establishments in New York City

Category:Sculptures of women in New York City


Cherry (painting)

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

Cherry (Russian: «Черешня») is an oil painting on canvas painted in 1969 by Russian artist Yevsey Moiseyenko (1916–1988).

Category:Collection of the Russian Museum


Cherry (painting)

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

Cherry (Russian: «Черешня») is an oil painting on canvas painted in 1969 by Russian artist Yevsey Moiseyenko (1916–1988).

Category:Collection of the Russian Museum


Cherry (painting)

Prompt: How does Cherry (painting) explain its abstract?

Cherry (Russian: «Черешня») is an oil painting on canvas painted in 1969 by Russian artist Yevsey Moiseyenko (1916–1988).

Category:Collection of the Russian Museum


Cherry (painting)

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

Cherry (Russian: «Черешня») is an oil painting on canvas painted in 1969 by Russian artist Yevsey Moiseyenko (1916–1988).

Category:Collection of the Russian Museum


Cherry (painting)

Prompt: Focus on Cherry (painting) and explain the History.

Cherry has been described as a philosophical essay about evil and good of the war.  It is one of the most important works by Moiseyenko. It belongs to the series called "Years of Fighting" – a historical epopee, which brought the Lenin Prize to the artist in 1974. It was again a theme of Russian Civil War in this painting (before there were Cavalry the First (1957), Here Reds are (1961), Friends (1964), Son (1969) and others). Moiseyenko began to make studies for his painting from 1967. He made a few variants of Cherry. The last one took a year. Cherry was presented for the first time at the largest exhibition, the "Fine Arts of Leningrad" in Moscow, 1976. The Russian Museum has Cherry in its collection.As a subject Moiseyenko selected a very peaceable and idyllic episode of war in which it seems as if the soldiers have forgotten about death, which was not far from them. There are not the sabres in their hands but cherry.  Moiseyenko allocated his main heroes in the top of the hill and divided the composition to the separate scenes, dissolving the border between an external space and a lyric reflection. There is a ring of friendship in the circular position of their figures. All of them are very young but their faces show strength of mind and courage. The foreground and background are from different times: There is a peaceful life of towns and villages in a condensed space of the background. It belongs to the time of dreams. "Silence. Pause. Maybe, at noon there, behind the hill, they will lie down into this caressing grass... They are pure-minded dreamers and with a great idea," the author explained his message.

Category:Collection of the Russian Museum


Cherry (painting)

Prompt: Explain the History of this artwork, Cherry (painting).

Cherry has been described as a philosophical essay about evil and good of the war.  It is one of the most important works by Moiseyenko. It belongs to the series called "Years of Fighting" – a historical epopee, which brought the Lenin Prize to the artist in 1974. It was again a theme of Russian Civil War in this painting (before there were Cavalry the First (1957), Here Reds are (1961), Friends (1964), Son (1969) and others). Moiseyenko began to make studies for his painting from 1967. He made a few variants of Cherry. The last one took a year. Cherry was presented for the first time at the largest exhibition, the "Fine Arts of Leningrad" in Moscow, 1976. The Russian Museum has Cherry in its collection.As a subject Moiseyenko selected a very peaceable and idyllic episode of war in which it seems as if the soldiers have forgotten about death, which was not far from them. There are not the sabres in their hands but cherry.  Moiseyenko allocated his main heroes in the top of the hill and divided the composition to the separate scenes, dissolving the border between an external space and a lyric reflection. There is a ring of friendship in the circular position of their figures. All of them are very young but their faces show strength of mind and courage. The foreground and background are from different times: There is a peaceful life of towns and villages in a condensed space of the background. It belongs to the time of dreams. "Silence. Pause. Maybe, at noon there, behind the hill, they will lie down into this caressing grass... They are pure-minded dreamers and with a great idea," the author explained his message.

Category:Collection of the Russian Museum


Cherry (painting)

Prompt: How does Cherry (painting) explain its History?

Cherry has been described as a philosophical essay about evil and good of the war.  It is one of the most important works by Moiseyenko. It belongs to the series called "Years of Fighting" – a historical epopee, which brought the Lenin Prize to the artist in 1974. It was again a theme of Russian Civil War in this painting (before there were Cavalry the First (1957), Here Reds are (1961), Friends (1964), Son (1969) and others). Moiseyenko began to make studies for his painting from 1967. He made a few variants of Cherry. The last one took a year. Cherry was presented for the first time at the largest exhibition, the "Fine Arts of Leningrad" in Moscow, 1976. The Russian Museum has Cherry in its collection.As a subject Moiseyenko selected a very peaceable and idyllic episode of war in which it seems as if the soldiers have forgotten about death, which was not far from them. There are not the sabres in their hands but cherry.  Moiseyenko allocated his main heroes in the top of the hill and divided the composition to the separate scenes, dissolving the border between an external space and a lyric reflection. There is a ring of friendship in the circular position of their figures. All of them are very young but their faces show strength of mind and courage. The foreground and background are from different times: There is a peaceful life of towns and villages in a condensed space of the background. It belongs to the time of dreams. "Silence. Pause. Maybe, at noon there, behind the hill, they will lie down into this caressing grass... They are pure-minded dreamers and with a great idea," the author explained his message.

Category:Collection of the Russian Museum


Cherry (painting)

Prompt: In Cherry (painting), how is the History discussed?

Cherry has been described as a philosophical essay about evil and good of the war.  It is one of the most important works by Moiseyenko. It belongs to the series called "Years of Fighting" – a historical epopee, which brought the Lenin Prize to the artist in 1974. It was again a theme of Russian Civil War in this painting (before there were Cavalry the First (1957), Here Reds are (1961), Friends (1964), Son (1969) and others). Moiseyenko began to make studies for his painting from 1967. He made a few variants of Cherry. The last one took a year. Cherry was presented for the first time at the largest exhibition, the "Fine Arts of Leningrad" in Moscow, 1976. The Russian Museum has Cherry in its collection.As a subject Moiseyenko selected a very peaceable and idyllic episode of war in which it seems as if the soldiers have forgotten about death, which was not far from them. There are not the sabres in their hands but cherry.  Moiseyenko allocated his main heroes in the top of the hill and divided the composition to the separate scenes, dissolving the border between an external space and a lyric reflection. There is a ring of friendship in the circular position of their figures. All of them are very young but their faces show strength of mind and courage. The foreground and background are from different times: There is a peaceful life of towns and villages in a condensed space of the background. It belongs to the time of dreams. "Silence. Pause. Maybe, at noon there, behind the hill, they will lie down into this caressing grass... They are pure-minded dreamers and with a great idea," the author explained his message.

Category:Collection of the Russian Museum


Prompt: Focus on Statue of Dwight D. Eisenhower (U.S. Capitol) and explain the abstract.

Dwight D. Eisenhower is a bronze sculpture depicting the former U.S. president of the same name by Jim Brothers, installed in the U.S. Capitol's rotunda, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Kansas in 2003, and replaced one depicting George Washington Glick.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Statues of Dwight D. Eisenhower

Category:2003 establishments in Washington, D.C.

List of memorials to Dwight D. Eisenhower

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

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

Category:National Statuary Hall Collection


Prompt: Explain the abstract of this artwork, Statue of Dwight D. Eisenhower (U.S. Capitol).

Dwight D. Eisenhower is a bronze sculpture depicting the former U.S. president of the same name by Jim Brothers, installed in the U.S. Capitol's rotunda, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Kansas in 2003, and replaced one depicting George Washington Glick.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Statues of Dwight D. Eisenhower

Category:2003 establishments in Washington, D.C.

List of memorials to Dwight D. Eisenhower

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

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

Category:National Statuary Hall Collection


Prompt: How does Statue of Dwight D. Eisenhower (U.S. Capitol) explain its abstract?

Dwight D. Eisenhower is a bronze sculpture depicting the former U.S. president of the same name by Jim Brothers, installed in the U.S. Capitol's rotunda, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Kansas in 2003, and replaced one depicting George Washington Glick.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Statues of Dwight D. Eisenhower

Category:2003 establishments in Washington, D.C.

List of memorials to Dwight D. Eisenhower

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

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

Category:National Statuary Hall Collection


Prompt: In Statue of Dwight D. Eisenhower (U.S. Capitol), how is the abstract discussed?

Dwight D. Eisenhower is a bronze sculpture depicting the former U.S. president of the same name by Jim Brothers, installed in the U.S. Capitol's rotunda, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Kansas in 2003, and replaced one depicting George Washington Glick.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Statues of Dwight D. Eisenhower

Category:2003 establishments in Washington, D.C.

List of memorials to Dwight D. Eisenhower

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

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

Category:National Statuary Hall Collection


Prompt: Focus on Healing of the Man Born Blind (El Greco, Dresden) and explain the abstract.

Healing of the Man Born Blind is a painting of the healing of the man born blind by the Greek painter El Greco, produced in 1567 during his time in Venice. It is now in the Palazzo della Pilotta in Parma, Italy. It marks his first use of a space marked by perspective, abandoning the perspective-less Byzantine style in which he had been trained. It shows the marked influence of the Venetian painters Tintoretto, Titian and Veronese. El Greco returned to the subject five years later, in a work now in Parma.

Category:Paintings of the healing of the man born blind

Healing of the Man Born Blind (El Greco, Parma)

Category:Collection of the Gemäldegalerie Alte Meister


Prompt: Explain the abstract of this artwork, Healing of the Man Born Blind (El Greco, Dresden).

Healing of the Man Born Blind is a painting of the healing of the man born blind by the Greek painter El Greco, produced in 1567 during his time in Venice. It is now in the Palazzo della Pilotta in Parma, Italy. It marks his first use of a space marked by perspective, abandoning the perspective-less Byzantine style in which he had been trained. It shows the marked influence of the Venetian painters Tintoretto, Titian and Veronese. El Greco returned to the subject five years later, in a work now in Parma.

Category:Paintings of the healing of the man born blind

Healing of the Man Born Blind (El Greco, Parma)

Category:Collection of the Gemäldegalerie Alte Meister


Prompt: How does Healing of the Man Born Blind (El Greco, Dresden) explain its abstract?

Healing of the Man Born Blind is a painting of the healing of the man born blind by the Greek painter El Greco, produced in 1567 during his time in Venice. It is now in the Palazzo della Pilotta in Parma, Italy. It marks his first use of a space marked by perspective, abandoning the perspective-less Byzantine style in which he had been trained. It shows the marked influence of the Venetian painters Tintoretto, Titian and Veronese. El Greco returned to the subject five years later, in a work now in Parma.

Category:Paintings of the healing of the man born blind

Healing of the Man Born Blind (El Greco, Parma)

Category:Collection of the Gemäldegalerie Alte Meister


Prompt: In Healing of the Man Born Blind (El Greco, Dresden), how is the abstract discussed?

Healing of the Man Born Blind is a painting of the healing of the man born blind by the Greek painter El Greco, produced in 1567 during his time in Venice. It is now in the Palazzo della Pilotta in Parma, Italy. It marks his first use of a space marked by perspective, abandoning the perspective-less Byzantine style in which he had been trained. It shows the marked influence of the Venetian painters Tintoretto, Titian and Veronese. El Greco returned to the subject five years later, in a work now in Parma.

Category:Paintings of the healing of the man born blind

Healing of the Man Born Blind (El Greco, Parma)

Category:Collection of the Gemäldegalerie Alte Meister


Cupid Carving His Bow

Prompt: Focus on Cupid Carving His Bow and explain the abstract.

Cupid Carving His Bow is a marble sculpture by the Flemish artist François Duquesnoy. The sculpture might be the first notable work in marble by Duquesnoy. According to Estelle Lingo: "The significance that the infant putto held for Duquesnoy's vision of the Greek style is demonstrated most clearly by the Cupid carving his bow." The sculpture was badly damaged during World War II, when it was shot in the head and broke into several pieces. It is currently housed at the Bode Museum in Berlin.

Category:Sculptures by François Duquesnoy

File:Cupid gunshot detail from video by Staatliche Museen zu Berlin.jpg

Category:Sculptures in the Staatliche Museen zu Berlin

Still frame from the Staatliche Museen zu Berlin - Retina Fabrik video clip showing Cupid's temple hit by gunfire


Cupid Carving His Bow

Prompt: Explain the abstract of this artwork, Cupid Carving His Bow.

Cupid Carving His Bow is a marble sculpture by the Flemish artist François Duquesnoy. The sculpture might be the first notable work in marble by Duquesnoy. According to Estelle Lingo: "The significance that the infant putto held for Duquesnoy's vision of the Greek style is demonstrated most clearly by the Cupid carving his bow." The sculpture was badly damaged during World War II, when it was shot in the head and broke into several pieces. It is currently housed at the Bode Museum in Berlin.

Category:Sculptures by François Duquesnoy

File:Cupid gunshot detail from video by Staatliche Museen zu Berlin.jpg

Category:Sculptures in the Staatliche Museen zu Berlin

Still frame from the Staatliche Museen zu Berlin - Retina Fabrik video clip showing Cupid's temple hit by gunfire


Cupid Carving His Bow

Prompt: How does Cupid Carving His Bow explain its abstract?

Cupid Carving His Bow is a marble sculpture by the Flemish artist François Duquesnoy. The sculpture might be the first notable work in marble by Duquesnoy. According to Estelle Lingo: "The significance that the infant putto held for Duquesnoy's vision of the Greek style is demonstrated most clearly by the Cupid carving his bow." The sculpture was badly damaged during World War II, when it was shot in the head and broke into several pieces. It is currently housed at the Bode Museum in Berlin.

Category:Sculptures by François Duquesnoy

File:Cupid gunshot detail from video by Staatliche Museen zu Berlin.jpg

Category:Sculptures in the Staatliche Museen zu Berlin

Still frame from the Staatliche Museen zu Berlin - Retina Fabrik video clip showing Cupid's temple hit by gunfire


Cupid Carving His Bow

Prompt: In Cupid Carving His Bow, how is the abstract discussed?

Cupid Carving His Bow is a marble sculpture by the Flemish artist François Duquesnoy. The sculpture might be the first notable work in marble by Duquesnoy. According to Estelle Lingo: "The significance that the infant putto held for Duquesnoy's vision of the Greek style is demonstrated most clearly by the Cupid carving his bow." The sculpture was badly damaged during World War II, when it was shot in the head and broke into several pieces. It is currently housed at the Bode Museum in Berlin.

Category:Sculptures by François Duquesnoy

File:Cupid gunshot detail from video by Staatliche Museen zu Berlin.jpg

Category:Sculptures in the Staatliche Museen zu Berlin

Still frame from the Staatliche Museen zu Berlin - Retina Fabrik video clip showing Cupid's temple hit by gunfire


Cupid Carving His Bow

Prompt: Focus on Cupid Carving His Bow and explain the Sculpture.

At first sight, the cupid in its current state may evoke a feeling of sadness. The figure, as opposed to what might be expected from a "cheerful, Baroque god of love," appears downcast and introverted. The Cupid is bent forward, with his eyes downcast, his gaze on the ground. The damage the sculpture suffered during World War II contributes to incite a feeling of sadness. His posture is difficult to comprehend without knowledge of the sculpture's history.There is an account by Duquesnoy's biographer and friend Joachim von Sandrart on the making of this sculpture. According to Sandrart, Duquesnoy was famous in Rome for his sculptures of children and infant putti, but had worked mostly in wax and clay so far (according to Gian Pietro Bellori, however, just a few years after his arrival in Rome Duquesnoy was forced to carve works in ivory and wood as well). In his biography of Duquesnoy, then, Sandrart claims that the Fiammingo wanted to show his mastery of marble, and thence produced the Cupid Carving His Bow. That would make the sculpture the firs work in marble by Duquesnoy, or at any rate his first notable oeuvre in marble.No buyer for the sculpture could be found at first, but Sandrart was eventually able to sell the Cupid to a merchant named Lucas van Uffel (or van Uffen), then resident in Venice.In 1637 the sculpture was purchased by the city council of Amsterdam, whereto the Cupid had been brought by Van Uffel. It was given as a gift to Princess Amalia of Orange-Nassau by the city council. Alternatively, the sculpture was sold to Van Uffel by Sandrart in Amsterdam, and passed to the Amsterdam city council upon the former's death.The princess set the sculpture in her pleasure garden in The Hague. From thence, the sculpture ended up in Brandenburg, where it is recorded in a 1689 inventory of the elector's kunstkammer.The statue was badly damaged during World War II: in 1945, the sculpture was put into a bunker in Friedrichshain. There was a fire in the bunker, as well as gunfire, which hit the sculpture. Damage by gunfire is clearly visible on the Cupid's temple.Possibly because of the one shot in the Cupid's temple, the sculpture fell onto the ground and broke into pieces. The statue was moved to Russia, where it was reassembled. The sculpture came back to Berlin in the 1950s and was further restored there in the 1990s.Although, as mentioned, the figure might at first sight seem introverted and perhaps even downhearted, he is actually concentrated on carving his bow. Rather than having downcast eyes, the cupid is "carving his bow with great concentration."

Category:Sculptures by François Duquesnoy

File:Cupid gunshot detail from video by Staatliche Museen zu Berlin.jpg

Category:Sculptures in the Staatliche Museen zu Berlin

Still frame from the Staatliche Museen zu Berlin - Retina Fabrik video clip showing Cupid's temple hit by gunfire


Cupid Carving His Bow

Prompt: Explain the Sculpture of this artwork, Cupid Carving His Bow.

At first sight, the cupid in its current state may evoke a feeling of sadness. The figure, as opposed to what might be expected from a "cheerful, Baroque god of love," appears downcast and introverted. The Cupid is bent forward, with his eyes downcast, his gaze on the ground. The damage the sculpture suffered during World War II contributes to incite a feeling of sadness. His posture is difficult to comprehend without knowledge of the sculpture's history.There is an account by Duquesnoy's biographer and friend Joachim von Sandrart on the making of this sculpture. According to Sandrart, Duquesnoy was famous in Rome for his sculptures of children and infant putti, but had worked mostly in wax and clay so far (according to Gian Pietro Bellori, however, just a few years after his arrival in Rome Duquesnoy was forced to carve works in ivory and wood as well). In his biography of Duquesnoy, then, Sandrart claims that the Fiammingo wanted to show his mastery of marble, and thence produced the Cupid Carving His Bow. That would make the sculpture the firs work in marble by Duquesnoy, or at any rate his first notable oeuvre in marble.No buyer for the sculpture could be found at first, but Sandrart was eventually able to sell the Cupid to a merchant named Lucas van Uffel (or van Uffen), then resident in Venice.In 1637 the sculpture was purchased by the city council of Amsterdam, whereto the Cupid had been brought by Van Uffel. It was given as a gift to Princess Amalia of Orange-Nassau by the city council. Alternatively, the sculpture was sold to Van Uffel by Sandrart in Amsterdam, and passed to the Amsterdam city council upon the former's death.The princess set the sculpture in her pleasure garden in The Hague. From thence, the sculpture ended up in Brandenburg, where it is recorded in a 1689 inventory of the elector's kunstkammer.The statue was badly damaged during World War II: in 1945, the sculpture was put into a bunker in Friedrichshain. There was a fire in the bunker, as well as gunfire, which hit the sculpture. Damage by gunfire is clearly visible on the Cupid's temple.Possibly because of the one shot in the Cupid's temple, the sculpture fell onto the ground and broke into pieces. The statue was moved to Russia, where it was reassembled. The sculpture came back to Berlin in the 1950s and was further restored there in the 1990s.Although, as mentioned, the figure might at first sight seem introverted and perhaps even downhearted, he is actually concentrated on carving his bow. Rather than having downcast eyes, the cupid is "carving his bow with great concentration."

Category:Sculptures by François Duquesnoy

File:Cupid gunshot detail from video by Staatliche Museen zu Berlin.jpg

Category:Sculptures in the Staatliche Museen zu Berlin

Still frame from the Staatliche Museen zu Berlin - Retina Fabrik video clip showing Cupid's temple hit by gunfire


Cupid Carving His Bow

Prompt: How does Cupid Carving His Bow explain its Sculpture?

At first sight, the cupid in its current state may evoke a feeling of sadness. The figure, as opposed to what might be expected from a "cheerful, Baroque god of love," appears downcast and introverted. The Cupid is bent forward, with his eyes downcast, his gaze on the ground. The damage the sculpture suffered during World War II contributes to incite a feeling of sadness. His posture is difficult to comprehend without knowledge of the sculpture's history.There is an account by Duquesnoy's biographer and friend Joachim von Sandrart on the making of this sculpture. According to Sandrart, Duquesnoy was famous in Rome for his sculptures of children and infant putti, but had worked mostly in wax and clay so far (according to Gian Pietro Bellori, however, just a few years after his arrival in Rome Duquesnoy was forced to carve works in ivory and wood as well). In his biography of Duquesnoy, then, Sandrart claims that the Fiammingo wanted to show his mastery of marble, and thence produced the Cupid Carving His Bow. That would make the sculpture the firs work in marble by Duquesnoy, or at any rate his first notable oeuvre in marble.No buyer for the sculpture could be found at first, but Sandrart was eventually able to sell the Cupid to a merchant named Lucas van Uffel (or van Uffen), then resident in Venice.In 1637 the sculpture was purchased by the city council of Amsterdam, whereto the Cupid had been brought by Van Uffel. It was given as a gift to Princess Amalia of Orange-Nassau by the city council. Alternatively, the sculpture was sold to Van Uffel by Sandrart in Amsterdam, and passed to the Amsterdam city council upon the former's death.The princess set the sculpture in her pleasure garden in The Hague. From thence, the sculpture ended up in Brandenburg, where it is recorded in a 1689 inventory of the elector's kunstkammer.The statue was badly damaged during World War II: in 1945, the sculpture was put into a bunker in Friedrichshain. There was a fire in the bunker, as well as gunfire, which hit the sculpture. Damage by gunfire is clearly visible on the Cupid's temple.Possibly because of the one shot in the Cupid's temple, the sculpture fell onto the ground and broke into pieces. The statue was moved to Russia, where it was reassembled. The sculpture came back to Berlin in the 1950s and was further restored there in the 1990s.Although, as mentioned, the figure might at first sight seem introverted and perhaps even downhearted, he is actually concentrated on carving his bow. Rather than having downcast eyes, the cupid is "carving his bow with great concentration."

Category:Sculptures by François Duquesnoy

File:Cupid gunshot detail from video by Staatliche Museen zu Berlin.jpg

Category:Sculptures in the Staatliche Museen zu Berlin

Still frame from the Staatliche Museen zu Berlin - Retina Fabrik video clip showing Cupid's temple hit by gunfire


Cupid Carving His Bow

Prompt: In Cupid Carving His Bow, how is the Sculpture discussed?

At first sight, the cupid in its current state may evoke a feeling of sadness. The figure, as opposed to what might be expected from a "cheerful, Baroque god of love," appears downcast and introverted. The Cupid is bent forward, with his eyes downcast, his gaze on the ground. The damage the sculpture suffered during World War II contributes to incite a feeling of sadness. His posture is difficult to comprehend without knowledge of the sculpture's history.There is an account by Duquesnoy's biographer and friend Joachim von Sandrart on the making of this sculpture. According to Sandrart, Duquesnoy was famous in Rome for his sculptures of children and infant putti, but had worked mostly in wax and clay so far (according to Gian Pietro Bellori, however, just a few years after his arrival in Rome Duquesnoy was forced to carve works in ivory and wood as well). In his biography of Duquesnoy, then, Sandrart claims that the Fiammingo wanted to show his mastery of marble, and thence produced the Cupid Carving His Bow. That would make the sculpture the firs work in marble by Duquesnoy, or at any rate his first notable oeuvre in marble.No buyer for the sculpture could be found at first, but Sandrart was eventually able to sell the Cupid to a merchant named Lucas van Uffel (or van Uffen), then resident in Venice.In 1637 the sculpture was purchased by the city council of Amsterdam, whereto the Cupid had been brought by Van Uffel. It was given as a gift to Princess Amalia of Orange-Nassau by the city council. Alternatively, the sculpture was sold to Van Uffel by Sandrart in Amsterdam, and passed to the Amsterdam city council upon the former's death.The princess set the sculpture in her pleasure garden in The Hague. From thence, the sculpture ended up in Brandenburg, where it is recorded in a 1689 inventory of the elector's kunstkammer.The statue was badly damaged during World War II: in 1945, the sculpture was put into a bunker in Friedrichshain. There was a fire in the bunker, as well as gunfire, which hit the sculpture. Damage by gunfire is clearly visible on the Cupid's temple.Possibly because of the one shot in the Cupid's temple, the sculpture fell onto the ground and broke into pieces. The statue was moved to Russia, where it was reassembled. The sculpture came back to Berlin in the 1950s and was further restored there in the 1990s.Although, as mentioned, the figure might at first sight seem introverted and perhaps even downhearted, he is actually concentrated on carving his bow. Rather than having downcast eyes, the cupid is "carving his bow with great concentration."

Category:Sculptures by François Duquesnoy

File:Cupid gunshot detail from video by Staatliche Museen zu Berlin.jpg

Category:Sculptures in the Staatliche Museen zu Berlin

Still frame from the Staatliche Museen zu Berlin - Retina Fabrik video clip showing Cupid's temple hit by gunfire


Prompt: Focus on Christ Carrying the Cross (El Greco, Madrid) and explain the abstract.

Christ Carrying the Cross is a 1597–1600 painting by El Greco, belonging to the end of his life in Toledo. It is now in the Museo del Prado in Madrid.

Category:Paintings of Christ carrying the cross

Category:Paintings by El Greco in the Museo del Prado


Prompt: Explain the abstract of this artwork, Christ Carrying the Cross (El Greco, Madrid).

Christ Carrying the Cross is a 1597–1600 painting by El Greco, belonging to the end of his life in Toledo. It is now in the Museo del Prado in Madrid.

Category:Paintings of Christ carrying the cross

Category:Paintings by El Greco in the Museo del Prado


Prompt: How does Christ Carrying the Cross (El Greco, Madrid) explain its abstract?

Christ Carrying the Cross is a 1597–1600 painting by El Greco, belonging to the end of his life in Toledo. It is now in the Museo del Prado in Madrid.

Category:Paintings of Christ carrying the cross

Category:Paintings by El Greco in the Museo del Prado


Prompt: In Christ Carrying the Cross (El Greco, Madrid), how is the abstract discussed?

Christ Carrying the Cross is a 1597–1600 painting by El Greco, belonging to the end of his life in Toledo. It is now in the Museo del Prado in Madrid.

Category:Paintings of Christ carrying the cross

Category:Paintings by El Greco in the Museo del Prado


Prompt: Focus on Christ Carrying the Cross (El Greco, Madrid) and explain the Bibliography (in Spanish).

ÁLVAREZ LOPERA, José, El Greco, Madrid, Arlanza, 2005, Biblioteca «Descubrir el Arte», (colección «Grandes maestros»). ISBN 84-95503-44-1.SCHOLZ-HÄNSEL, Michael, El Greco, Colonia, Taschen, 2003. ISBN 978-3-8228-3173-1.ArteHistoria.com. «Cristo abrazado a la cruz» [Consulta: 02.02.2011].

Category:Paintings of Christ carrying the cross

Category:Paintings by El Greco in the Museo del Prado


Prompt: Explain the Bibliography (in Spanish) of this artwork, Christ Carrying the Cross (El Greco, Madrid).

ÁLVAREZ LOPERA, José, El Greco, Madrid, Arlanza, 2005, Biblioteca «Descubrir el Arte», (colección «Grandes maestros»). ISBN 84-95503-44-1.SCHOLZ-HÄNSEL, Michael, El Greco, Colonia, Taschen, 2003. ISBN 978-3-8228-3173-1.ArteHistoria.com. «Cristo abrazado a la cruz» [Consulta: 02.02.2011].

Category:Paintings of Christ carrying the cross

Category:Paintings by El Greco in the Museo del Prado


Prompt: How does Christ Carrying the Cross (El Greco, Madrid) explain its Bibliography (in Spanish)?

ÁLVAREZ LOPERA, José, El Greco, Madrid, Arlanza, 2005, Biblioteca «Descubrir el Arte», (colección «Grandes maestros»). ISBN 84-95503-44-1.SCHOLZ-HÄNSEL, Michael, El Greco, Colonia, Taschen, 2003. ISBN 978-3-8228-3173-1.ArteHistoria.com. «Cristo abrazado a la cruz» [Consulta: 02.02.2011].

Category:Paintings of Christ carrying the cross

Category:Paintings by El Greco in the Museo del Prado


Prompt: In Christ Carrying the Cross (El Greco, Madrid), how is the Bibliography (in Spanish) discussed?

ÁLVAREZ LOPERA, José, El Greco, Madrid, Arlanza, 2005, Biblioteca «Descubrir el Arte», (colección «Grandes maestros»). ISBN 84-95503-44-1.SCHOLZ-HÄNSEL, Michael, El Greco, Colonia, Taschen, 2003. ISBN 978-3-8228-3173-1.ArteHistoria.com. «Cristo abrazado a la cruz» [Consulta: 02.02.2011].

Category:Paintings of Christ carrying the cross

Category:Paintings by El Greco in the Museo del Prado


Bust of Monsignor Pedro de Foix Montoya

Prompt: Focus on Bust of Monsignor Pedro de Foix Montoya and explain the abstract.

Bust of Monsignor Pedro de Foix Montoya is a sculpted portrait by the Italian artist Gianlorenzo Bernini. Executed in 1621 and 1622, it sits within a larger tomb created for Montoya, a Spanish lawyer working in Rome. The tomb was originally in the Spanish national church in Rome, San Giacomo degli Spagnuoli, but was moved in the nineteenth century when the church fell out of Spanish possession. The monument now sits in the refectory attached to the Roman church of Santa Maria di Monserrato. The architecture for the tomb was undertaken by Orazio Turriani.

Category:Monuments and memorials in Rome

Santa Maria in Monserrato degli Spagnoli


Bust of Monsignor Pedro de Foix Montoya

Prompt: Explain the abstract of this artwork, Bust of Monsignor Pedro de Foix Montoya.

Bust of Monsignor Pedro de Foix Montoya is a sculpted portrait by the Italian artist Gianlorenzo Bernini. Executed in 1621 and 1622, it sits within a larger tomb created for Montoya, a Spanish lawyer working in Rome. The tomb was originally in the Spanish national church in Rome, San Giacomo degli Spagnuoli, but was moved in the nineteenth century when the church fell out of Spanish possession. The monument now sits in the refectory attached to the Roman church of Santa Maria di Monserrato. The architecture for the tomb was undertaken by Orazio Turriani.

Category:Monuments and memorials in Rome

Santa Maria in Monserrato degli Spagnoli


Bust of Monsignor Pedro de Foix Montoya

Prompt: How does Bust of Monsignor Pedro de Foix Montoya explain its abstract?

Bust of Monsignor Pedro de Foix Montoya is a sculpted portrait by the Italian artist Gianlorenzo Bernini. Executed in 1621 and 1622, it sits within a larger tomb created for Montoya, a Spanish lawyer working in Rome. The tomb was originally in the Spanish national church in Rome, San Giacomo degli Spagnuoli, but was moved in the nineteenth century when the church fell out of Spanish possession. The monument now sits in the refectory attached to the Roman church of Santa Maria di Monserrato. The architecture for the tomb was undertaken by Orazio Turriani.

Category:Monuments and memorials in Rome

Santa Maria in Monserrato degli Spagnoli


Bust of Monsignor Pedro de Foix Montoya

Prompt: In Bust of Monsignor Pedro de Foix Montoya, how is the abstract discussed?

Bust of Monsignor Pedro de Foix Montoya is a sculpted portrait by the Italian artist Gianlorenzo Bernini. Executed in 1621 and 1622, it sits within a larger tomb created for Montoya, a Spanish lawyer working in Rome. The tomb was originally in the Spanish national church in Rome, San Giacomo degli Spagnuoli, but was moved in the nineteenth century when the church fell out of Spanish possession. The monument now sits in the refectory attached to the Roman church of Santa Maria di Monserrato. The architecture for the tomb was undertaken by Orazio Turriani.

Category:Monuments and memorials in Rome

Santa Maria in Monserrato degli Spagnoli


Ballerina Clown

Prompt: Focus on Ballerina Clown and explain the abstract.

Ballerina Clown, also known as Clownerina, is a public sculpture in the Venice neighborhood of Los Angeles. It was unveiled in 1989 and was created by Jonathan Borofsky. The sculpture is animated, occasionally kicking during a scheduled time in the afternoon. It is located on top of a CVS Pharmacy at the corner of Rose Ave. and Main St.

Category:Outdoor sculptures in Greater Los Angeles

Category:1989 establishments in California


Ballerina Clown

Prompt: Explain the abstract of this artwork, Ballerina Clown.

Ballerina Clown, also known as Clownerina, is a public sculpture in the Venice neighborhood of Los Angeles. It was unveiled in 1989 and was created by Jonathan Borofsky. The sculpture is animated, occasionally kicking during a scheduled time in the afternoon. It is located on top of a CVS Pharmacy at the corner of Rose Ave. and Main St.

Category:Outdoor sculptures in Greater Los Angeles

Category:1989 establishments in California


Ballerina Clown

Prompt: How does Ballerina Clown explain its abstract?

Ballerina Clown, also known as Clownerina, is a public sculpture in the Venice neighborhood of Los Angeles. It was unveiled in 1989 and was created by Jonathan Borofsky. The sculpture is animated, occasionally kicking during a scheduled time in the afternoon. It is located on top of a CVS Pharmacy at the corner of Rose Ave. and Main St.

Category:Outdoor sculptures in Greater Los Angeles

Category:1989 establishments in California


Ballerina Clown

Prompt: In Ballerina Clown, how is the abstract discussed?

Ballerina Clown, also known as Clownerina, is a public sculpture in the Venice neighborhood of Los Angeles. It was unveiled in 1989 and was created by Jonathan Borofsky. The sculpture is animated, occasionally kicking during a scheduled time in the afternoon. It is located on top of a CVS Pharmacy at the corner of Rose Ave. and Main St.

Category:Outdoor sculptures in Greater Los Angeles

Category:1989 establishments in California


Ballerina Clown

Prompt: Focus on Ballerina Clown and explain the History.

Housing developer Harlan Lee commissioned the sculpture for $300,000 in 1989. It was originally exhibited at the Museum of Contemporary Art, Los Angeles as a 12 ft (3.7 m) display in a gallery. Instead of its legs moving, it sang a cover of "My Way" by Frank Sinatra. When the actual, full-size sculpture was complete, tenants of the building it stood on complained of the noise its knee made. Because of this, the legs stopped kicking. Lee sold the building in 1990, and the building's housing association currently owns the sculpture. Its legs began to move again in May 2014 but stopped temporarily as replacement parts were needed. The sculpture resumed its kicking at the Venice Art Walk.

Category:Outdoor sculptures in Greater Los Angeles

Category:1989 establishments in California


Ballerina Clown

Prompt: Explain the History of this artwork, Ballerina Clown.

Housing developer Harlan Lee commissioned the sculpture for $300,000 in 1989. It was originally exhibited at the Museum of Contemporary Art, Los Angeles as a 12 ft (3.7 m) display in a gallery. Instead of its legs moving, it sang a cover of "My Way" by Frank Sinatra. When the actual, full-size sculpture was complete, tenants of the building it stood on complained of the noise its knee made. Because of this, the legs stopped kicking. Lee sold the building in 1990, and the building's housing association currently owns the sculpture. Its legs began to move again in May 2014 but stopped temporarily as replacement parts were needed. The sculpture resumed its kicking at the Venice Art Walk.

Category:Outdoor sculptures in Greater Los Angeles

Category:1989 establishments in California


Ballerina Clown

Prompt: How does Ballerina Clown explain its History?

Housing developer Harlan Lee commissioned the sculpture for $300,000 in 1989. It was originally exhibited at the Museum of Contemporary Art, Los Angeles as a 12 ft (3.7 m) display in a gallery. Instead of its legs moving, it sang a cover of "My Way" by Frank Sinatra. When the actual, full-size sculpture was complete, tenants of the building it stood on complained of the noise its knee made. Because of this, the legs stopped kicking. Lee sold the building in 1990, and the building's housing association currently owns the sculpture. Its legs began to move again in May 2014 but stopped temporarily as replacement parts were needed. The sculpture resumed its kicking at the Venice Art Walk.

Category:Outdoor sculptures in Greater Los Angeles

Category:1989 establishments in California


Ballerina Clown

Prompt: In Ballerina Clown, how is the History discussed?

Housing developer Harlan Lee commissioned the sculpture for $300,000 in 1989. It was originally exhibited at the Museum of Contemporary Art, Los Angeles as a 12 ft (3.7 m) display in a gallery. Instead of its legs moving, it sang a cover of "My Way" by Frank Sinatra. When the actual, full-size sculpture was complete, tenants of the building it stood on complained of the noise its knee made. Because of this, the legs stopped kicking. Lee sold the building in 1990, and the building's housing association currently owns the sculpture. Its legs began to move again in May 2014 but stopped temporarily as replacement parts were needed. The sculpture resumed its kicking at the Venice Art Walk.

Category:Outdoor sculptures in Greater Los Angeles

Category:1989 establishments in California


Ballerina Clown

Prompt: Focus on Ballerina Clown and explain the Description.

Jonathan Borofsky, the creator of the sculpture, wanted to symbolize the character of Venice, Los Angeles, saying:"Of course, the Venice Boardwalk is full of all kinds of people in all sorts of outfits and the atmosphere is very festive with many live street performances taking place, especially on weekends. This sculpture is an accommodation or resolution of opposites in one. Not only does this image bring the male and female together into one figure, but also, two opposite types of performers are represented: the formal classical ballet dancer and the traditional street performer. Of course, this public sculpture pushes the envelope in "taste", but if you have ever walked the Venice Boardwalk on a Sunday afternoon, you might understand why this figure is right at home."Power is supplied by the soapbox the clown is standing on. The sculpture is made out of aluminum, steel, wire mesh, and fiberglass.

Category:Outdoor sculptures in Greater Los Angeles

Category:1989 establishments in California


Ballerina Clown

Prompt: Explain the Description of this artwork, Ballerina Clown.

Jonathan Borofsky, the creator of the sculpture, wanted to symbolize the character of Venice, Los Angeles, saying:"Of course, the Venice Boardwalk is full of all kinds of people in all sorts of outfits and the atmosphere is very festive with many live street performances taking place, especially on weekends. This sculpture is an accommodation or resolution of opposites in one. Not only does this image bring the male and female together into one figure, but also, two opposite types of performers are represented: the formal classical ballet dancer and the traditional street performer. Of course, this public sculpture pushes the envelope in "taste", but if you have ever walked the Venice Boardwalk on a Sunday afternoon, you might understand why this figure is right at home."Power is supplied by the soapbox the clown is standing on. The sculpture is made out of aluminum, steel, wire mesh, and fiberglass.

Category:Outdoor sculptures in Greater Los Angeles

Category:1989 establishments in California


Ballerina Clown

Prompt: How does Ballerina Clown explain its Description?

Jonathan Borofsky, the creator of the sculpture, wanted to symbolize the character of Venice, Los Angeles, saying:"Of course, the Venice Boardwalk is full of all kinds of people in all sorts of outfits and the atmosphere is very festive with many live street performances taking place, especially on weekends. This sculpture is an accommodation or resolution of opposites in one. Not only does this image bring the male and female together into one figure, but also, two opposite types of performers are represented: the formal classical ballet dancer and the traditional street performer. Of course, this public sculpture pushes the envelope in "taste", but if you have ever walked the Venice Boardwalk on a Sunday afternoon, you might understand why this figure is right at home."Power is supplied by the soapbox the clown is standing on. The sculpture is made out of aluminum, steel, wire mesh, and fiberglass.

Category:Outdoor sculptures in Greater Los Angeles

Category:1989 establishments in California