Stockton Flyer

Prompt: Explain the History of this artwork, Stockton Flyer.

The railway was significant to the history of the Stockton; the first modern passenger railway line the Stockton and Darlington Railway was completed in 1825.  Locomotion No. 1 first arrived at Stockton station on 27 September 1825.  The railway was highly beneficial to the town's coal trade.  In 1827 the railway was extended to the south bank of the River Tees where new staithes were built, this later grew into the city of Middlesbrough.  In 2013 Stockton-on-Tees Borough Council decided to commission the Stockton Flyer to commemorate the towns's railway and industrial past.  It followed the construction of a static sculpture of the  Locomotion No. 1, a 27 metres (89 ft) steel model at St John’s Crossing at the southern end of the town unveiled in September 2013.  The council justified the second sculpture, stating, "... whilst the St John's Crossing artwork is a literal representation of Locomotion No. 1 and its 1825 inaugural journey, The Stockton Flyer automata, intended for the High Street, represents our wider engineering achievements".  Planning permission was granted in early September 2013.The Stockton Flyer was designed and built by Cornwall-based sculptor Rob Higgs.  The initial design for the sculpture was criticised by some who considered it more closely resembled Stephenson's Rocket, which had no connection to the town and ran instead on the Liverpool and Manchester Railway.  The Rocket had different propulsion and wheel arrangements to the Locomotion No. 1.  A revised design more closely based on Locomotion No. 1 was revealed later in September 2013.  By 2015 the stone plinth of the sculpture was already in place and was engraved with the poem The Infinite Town by Mark Robinson.The Stockton Flyer was unveiled on 12 June 2016 as part of commemorations of Elizabeth II's 90th birthday (the Queen's Official Birthday).  The council did not announce the cost of the sculpture, but it was part of the £38M regeneration of the High Street.  The sculpture was turned off during the first COVID-19 national lockdown, but was reinstated on 4 July 2020.

Category:Kinetic sculptures
Stockton-on-Tees Borough Council
first COVID-19 national lockdown
Stephenson's Rocket
wikt:staithe
Category:2016 sculptures
kinetic sculpture
thumb
Pedestal
Kinetic art
Stephenson's ''Rocket''
Stockton and Darlington Railway
COVID-19 pandemic in the United Kingdom
Rob Higgs
George
Middlesbrough
County Durham
Category:Outdoor sculptures in England
River Tees
File:Stephenson's Rocket drawing.jpg
King's Official Birthday
Category:Stockton-on-Tees
Locomotion No. 1
Stockton-on-Tees
Queen's Official Birthday
The ''Rocket''
plinth
Elizabeth II
Stockton-on-Tees Town Hall
File:Locomotion, 1825.jpg
Robert Stephenson
staithes
George Stephenson
Liverpool and Manchester Railway


Stockton Flyer

Prompt: How does Stockton Flyer explain its History?

The railway was significant to the history of the Stockton; the first modern passenger railway line the Stockton and Darlington Railway was completed in 1825.  Locomotion No. 1 first arrived at Stockton station on 27 September 1825.  The railway was highly beneficial to the town's coal trade.  In 1827 the railway was extended to the south bank of the River Tees where new staithes were built, this later grew into the city of Middlesbrough.  In 2013 Stockton-on-Tees Borough Council decided to commission the Stockton Flyer to commemorate the towns's railway and industrial past.  It followed the construction of a static sculpture of the  Locomotion No. 1, a 27 metres (89 ft) steel model at St John’s Crossing at the southern end of the town unveiled in September 2013.  The council justified the second sculpture, stating, "... whilst the St John's Crossing artwork is a literal representation of Locomotion No. 1 and its 1825 inaugural journey, The Stockton Flyer automata, intended for the High Street, represents our wider engineering achievements".  Planning permission was granted in early September 2013.The Stockton Flyer was designed and built by Cornwall-based sculptor Rob Higgs.  The initial design for the sculpture was criticised by some who considered it more closely resembled Stephenson's Rocket, which had no connection to the town and ran instead on the Liverpool and Manchester Railway.  The Rocket had different propulsion and wheel arrangements to the Locomotion No. 1.  A revised design more closely based on Locomotion No. 1 was revealed later in September 2013.  By 2015 the stone plinth of the sculpture was already in place and was engraved with the poem The Infinite Town by Mark Robinson.The Stockton Flyer was unveiled on 12 June 2016 as part of commemorations of Elizabeth II's 90th birthday (the Queen's Official Birthday).  The council did not announce the cost of the sculpture, but it was part of the £38M regeneration of the High Street.  The sculpture was turned off during the first COVID-19 national lockdown, but was reinstated on 4 July 2020.

Category:Kinetic sculptures
Stockton-on-Tees Borough Council
first COVID-19 national lockdown
Stephenson's Rocket
wikt:staithe
Category:2016 sculptures
kinetic sculpture
thumb
Pedestal
Kinetic art
Stephenson's ''Rocket''
Stockton and Darlington Railway
COVID-19 pandemic in the United Kingdom
Rob Higgs
George
Middlesbrough
County Durham
Category:Outdoor sculptures in England
River Tees
File:Stephenson's Rocket drawing.jpg
King's Official Birthday
Category:Stockton-on-Tees
Locomotion No. 1
Stockton-on-Tees
Queen's Official Birthday
The ''Rocket''
plinth
Elizabeth II
Stockton-on-Tees Town Hall
File:Locomotion, 1825.jpg
Robert Stephenson
staithes
George Stephenson
Liverpool and Manchester Railway


Stockton Flyer

Prompt: In Stockton Flyer, how is the History discussed?

The railway was significant to the history of the Stockton; the first modern passenger railway line the Stockton and Darlington Railway was completed in 1825.  Locomotion No. 1 first arrived at Stockton station on 27 September 1825.  The railway was highly beneficial to the town's coal trade.  In 1827 the railway was extended to the south bank of the River Tees where new staithes were built, this later grew into the city of Middlesbrough.  In 2013 Stockton-on-Tees Borough Council decided to commission the Stockton Flyer to commemorate the towns's railway and industrial past.  It followed the construction of a static sculpture of the  Locomotion No. 1, a 27 metres (89 ft) steel model at St John’s Crossing at the southern end of the town unveiled in September 2013.  The council justified the second sculpture, stating, "... whilst the St John's Crossing artwork is a literal representation of Locomotion No. 1 and its 1825 inaugural journey, The Stockton Flyer automata, intended for the High Street, represents our wider engineering achievements".  Planning permission was granted in early September 2013.The Stockton Flyer was designed and built by Cornwall-based sculptor Rob Higgs.  The initial design for the sculpture was criticised by some who considered it more closely resembled Stephenson's Rocket, which had no connection to the town and ran instead on the Liverpool and Manchester Railway.  The Rocket had different propulsion and wheel arrangements to the Locomotion No. 1.  A revised design more closely based on Locomotion No. 1 was revealed later in September 2013.  By 2015 the stone plinth of the sculpture was already in place and was engraved with the poem The Infinite Town by Mark Robinson.The Stockton Flyer was unveiled on 12 June 2016 as part of commemorations of Elizabeth II's 90th birthday (the Queen's Official Birthday).  The council did not announce the cost of the sculpture, but it was part of the £38M regeneration of the High Street.  The sculpture was turned off during the first COVID-19 national lockdown, but was reinstated on 4 July 2020.

Category:Kinetic sculptures
Stockton-on-Tees Borough Council
first COVID-19 national lockdown
Stephenson's Rocket
wikt:staithe
Category:2016 sculptures
kinetic sculpture
thumb
Pedestal
Kinetic art
Stephenson's ''Rocket''
Stockton and Darlington Railway
COVID-19 pandemic in the United Kingdom
Rob Higgs
George
Middlesbrough
County Durham
Category:Outdoor sculptures in England
River Tees
File:Stephenson's Rocket drawing.jpg
King's Official Birthday
Category:Stockton-on-Tees
Locomotion No. 1
Stockton-on-Tees
Queen's Official Birthday
The ''Rocket''
plinth
Elizabeth II
Stockton-on-Tees Town Hall
File:Locomotion, 1825.jpg
Robert Stephenson
staithes
George Stephenson
Liverpool and Manchester Railway


The Temple of Juno in Agrigento

Prompt: Focus on The Temple of Juno in Agrigento and explain the abstract.

The Temple of Juno in Agrigento (German - Junotempel in Agrigent) is an 1828-1830 oil on canvas painting of by Caspar David Friedrich. It is now in the Museum für Kunst und Kulturgeschichte, in Dortmund, which bought it from a Cologne art dealer in 1951. It is said to have been previously owned by the F. A. Brockhaus publishers in Leipzig.The work shows the 460-450 BC Temple of Hera Lacinia in the Valle dei Templi in Agrigento, Sicily, sacked by the Carthaginians around 406 BC, rebuilt by the Romans and the subject of renewed interest for classicists and antiquarians from the mid 18th-century onwards. It was visited by both Jacob Philipp Hackert and Johann Wolfgang von Goethe, with the latter writing in his letters "The current view of the Temple of Juno is as gritty as one could wish for". However, Friedrich never visited Italy and produced the work from a print by another artist.In 1943 Hermann Beenken published the painting with an attribution to Friedrich, later reattributing it to Carl Gustav Carus. Helmut Börsch-Supan argues it cannot be a late work by Carus, but is instead a Friedrich.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: Explain the abstract of this artwork, The Temple of Juno in Agrigento.

The Temple of Juno in Agrigento (German - Junotempel in Agrigent) is an 1828-1830 oil on canvas painting of by Caspar David Friedrich. It is now in the Museum für Kunst und Kulturgeschichte, in Dortmund, which bought it from a Cologne art dealer in 1951. It is said to have been previously owned by the F. A. Brockhaus publishers in Leipzig.The work shows the 460-450 BC Temple of Hera Lacinia in the Valle dei Templi in Agrigento, Sicily, sacked by the Carthaginians around 406 BC, rebuilt by the Romans and the subject of renewed interest for classicists and antiquarians from the mid 18th-century onwards. It was visited by both Jacob Philipp Hackert and Johann Wolfgang von Goethe, with the latter writing in his letters "The current view of the Temple of Juno is as gritty as one could wish for". However, Friedrich never visited Italy and produced the work from a print by another artist.In 1943 Hermann Beenken published the painting with an attribution to Friedrich, later reattributing it to Carl Gustav Carus. Helmut Börsch-Supan argues it cannot be a late work by Carus, but is instead a Friedrich.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: How does The Temple of Juno in Agrigento explain its abstract?

The Temple of Juno in Agrigento (German - Junotempel in Agrigent) is an 1828-1830 oil on canvas painting of by Caspar David Friedrich. It is now in the Museum für Kunst und Kulturgeschichte, in Dortmund, which bought it from a Cologne art dealer in 1951. It is said to have been previously owned by the F. A. Brockhaus publishers in Leipzig.The work shows the 460-450 BC Temple of Hera Lacinia in the Valle dei Templi in Agrigento, Sicily, sacked by the Carthaginians around 406 BC, rebuilt by the Romans and the subject of renewed interest for classicists and antiquarians from the mid 18th-century onwards. It was visited by both Jacob Philipp Hackert and Johann Wolfgang von Goethe, with the latter writing in his letters "The current view of the Temple of Juno is as gritty as one could wish for". However, Friedrich never visited Italy and produced the work from a print by another artist.In 1943 Hermann Beenken published the painting with an attribution to Friedrich, later reattributing it to Carl Gustav Carus. Helmut Börsch-Supan argues it cannot be a late work by Carus, but is instead a Friedrich.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: In The Temple of Juno in Agrigento, how is the abstract discussed?

The Temple of Juno in Agrigento (German - Junotempel in Agrigent) is an 1828-1830 oil on canvas painting of by Caspar David Friedrich. It is now in the Museum für Kunst und Kulturgeschichte, in Dortmund, which bought it from a Cologne art dealer in 1951. It is said to have been previously owned by the F. A. Brockhaus publishers in Leipzig.The work shows the 460-450 BC Temple of Hera Lacinia in the Valle dei Templi in Agrigento, Sicily, sacked by the Carthaginians around 406 BC, rebuilt by the Romans and the subject of renewed interest for classicists and antiquarians from the mid 18th-century onwards. It was visited by both Jacob Philipp Hackert and Johann Wolfgang von Goethe, with the latter writing in his letters "The current view of the Temple of Juno is as gritty as one could wish for". However, Friedrich never visited Italy and produced the work from a print by another artist.In 1943 Hermann Beenken published the painting with an attribution to Friedrich, later reattributing it to Carl Gustav Carus. Helmut Börsch-Supan argues it cannot be a late work by Carus, but is instead a Friedrich.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: Focus on The Temple of Juno in Agrigento and explain the Context.

German enthusiasm for Italian art had peaked at the time the work was produced. In honour of Crown Prince Friedrich Wilhelm's visit to Italy in autumn 1828 an exhibition of Nazarene art was held at the Palazzo Caffarelli in Rome, including the first showing of Friedrich Overbeck's allegorical work Italia und Germania. The Crown Prince favoured these artists, but Friedrich rejected them, writing of one that he must have painted a number of works "through coloured glass ... Perhaps he should try the dangerous idea of painting of painting without glasses, by which objects would appear to him as they do to other honest folk who haven't been in Rome and have healthy eyes". he wrote of Ernst Ferdinand Oehme that he might have got further in art had he "not travelled to Rome" and that he had "greatly improved" since returning from thence, getting clear of the fashionable influence of Joseph Anton Koch who was "no longer a student of nature". He also wrote of a number of similar artists as being "no longer satisfied with our German sun, moon and stars, our rocks, trees and herbs, seas and rivers"His reason for rejecting a trip to Italy is unknown, possibly for fear of betraying German brotherhood, though it was not from lack of funds, since he turned down invitations from his painter friend Frederik Christian Lund in 1816:Thank you for your friendly invitation to Rome, but I must admit my mind never went there. But now that I am leafing through some of H[err] Farber's sketchbooks I have become almost completely different. I can now imagine travelling to Rome and living there. But I couldn't think of returning north without shuddering; in my opinion, that would mean so much: like burying oneself alive. I put up with staying put, without grumbling, if fate wills it that way; but going backwards is contrary to my nature. My whole being is outragedJens Christian Jensen argues that Friedrich deliberately and rigorously kept both his radius of travel and his choice of subjects for his pictures narrow. Ironically, Friedrich's friend Johan Christian Clausen Dahl took him to Naples virtually by including a figure of him in his Eruption of Vesuvius, identifiable from a labelled preparatory drawing.Friedrich was not alone in criticising the Nazarenes, though the Nazarenes themselves maintained that only artists could judge art Johann Christian Reinhart, Bertel Thorvaldsen, Philipp Veit and Joseph Anton Koch wrote counterblasts to the German art critics in the polemic Drei Schreiben aus Rom gegen Kunstschreiberei in Deutschland. However, many artists such as Ludwig Richter did diminish in quality after time in Italy, producing emptier and emptier work the more time they spent there.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: Explain the Context of this artwork, The Temple of Juno in Agrigento.

German enthusiasm for Italian art had peaked at the time the work was produced. In honour of Crown Prince Friedrich Wilhelm's visit to Italy in autumn 1828 an exhibition of Nazarene art was held at the Palazzo Caffarelli in Rome, including the first showing of Friedrich Overbeck's allegorical work Italia und Germania. The Crown Prince favoured these artists, but Friedrich rejected them, writing of one that he must have painted a number of works "through coloured glass ... Perhaps he should try the dangerous idea of painting of painting without glasses, by which objects would appear to him as they do to other honest folk who haven't been in Rome and have healthy eyes". he wrote of Ernst Ferdinand Oehme that he might have got further in art had he "not travelled to Rome" and that he had "greatly improved" since returning from thence, getting clear of the fashionable influence of Joseph Anton Koch who was "no longer a student of nature". He also wrote of a number of similar artists as being "no longer satisfied with our German sun, moon and stars, our rocks, trees and herbs, seas and rivers"His reason for rejecting a trip to Italy is unknown, possibly for fear of betraying German brotherhood, though it was not from lack of funds, since he turned down invitations from his painter friend Frederik Christian Lund in 1816:Thank you for your friendly invitation to Rome, but I must admit my mind never went there. But now that I am leafing through some of H[err] Farber's sketchbooks I have become almost completely different. I can now imagine travelling to Rome and living there. But I couldn't think of returning north without shuddering; in my opinion, that would mean so much: like burying oneself alive. I put up with staying put, without grumbling, if fate wills it that way; but going backwards is contrary to my nature. My whole being is outragedJens Christian Jensen argues that Friedrich deliberately and rigorously kept both his radius of travel and his choice of subjects for his pictures narrow. Ironically, Friedrich's friend Johan Christian Clausen Dahl took him to Naples virtually by including a figure of him in his Eruption of Vesuvius, identifiable from a labelled preparatory drawing.Friedrich was not alone in criticising the Nazarenes, though the Nazarenes themselves maintained that only artists could judge art Johann Christian Reinhart, Bertel Thorvaldsen, Philipp Veit and Joseph Anton Koch wrote counterblasts to the German art critics in the polemic Drei Schreiben aus Rom gegen Kunstschreiberei in Deutschland. However, many artists such as Ludwig Richter did diminish in quality after time in Italy, producing emptier and emptier work the more time they spent there.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: How does The Temple of Juno in Agrigento explain its Context?

German enthusiasm for Italian art had peaked at the time the work was produced. In honour of Crown Prince Friedrich Wilhelm's visit to Italy in autumn 1828 an exhibition of Nazarene art was held at the Palazzo Caffarelli in Rome, including the first showing of Friedrich Overbeck's allegorical work Italia und Germania. The Crown Prince favoured these artists, but Friedrich rejected them, writing of one that he must have painted a number of works "through coloured glass ... Perhaps he should try the dangerous idea of painting of painting without glasses, by which objects would appear to him as they do to other honest folk who haven't been in Rome and have healthy eyes". he wrote of Ernst Ferdinand Oehme that he might have got further in art had he "not travelled to Rome" and that he had "greatly improved" since returning from thence, getting clear of the fashionable influence of Joseph Anton Koch who was "no longer a student of nature". He also wrote of a number of similar artists as being "no longer satisfied with our German sun, moon and stars, our rocks, trees and herbs, seas and rivers"His reason for rejecting a trip to Italy is unknown, possibly for fear of betraying German brotherhood, though it was not from lack of funds, since he turned down invitations from his painter friend Frederik Christian Lund in 1816:Thank you for your friendly invitation to Rome, but I must admit my mind never went there. But now that I am leafing through some of H[err] Farber's sketchbooks I have become almost completely different. I can now imagine travelling to Rome and living there. But I couldn't think of returning north without shuddering; in my opinion, that would mean so much: like burying oneself alive. I put up with staying put, without grumbling, if fate wills it that way; but going backwards is contrary to my nature. My whole being is outragedJens Christian Jensen argues that Friedrich deliberately and rigorously kept both his radius of travel and his choice of subjects for his pictures narrow. Ironically, Friedrich's friend Johan Christian Clausen Dahl took him to Naples virtually by including a figure of him in his Eruption of Vesuvius, identifiable from a labelled preparatory drawing.Friedrich was not alone in criticising the Nazarenes, though the Nazarenes themselves maintained that only artists could judge art Johann Christian Reinhart, Bertel Thorvaldsen, Philipp Veit and Joseph Anton Koch wrote counterblasts to the German art critics in the polemic Drei Schreiben aus Rom gegen Kunstschreiberei in Deutschland. However, many artists such as Ludwig Richter did diminish in quality after time in Italy, producing emptier and emptier work the more time they spent there.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: In The Temple of Juno in Agrigento, how is the Context discussed?

German enthusiasm for Italian art had peaked at the time the work was produced. In honour of Crown Prince Friedrich Wilhelm's visit to Italy in autumn 1828 an exhibition of Nazarene art was held at the Palazzo Caffarelli in Rome, including the first showing of Friedrich Overbeck's allegorical work Italia und Germania. The Crown Prince favoured these artists, but Friedrich rejected them, writing of one that he must have painted a number of works "through coloured glass ... Perhaps he should try the dangerous idea of painting of painting without glasses, by which objects would appear to him as they do to other honest folk who haven't been in Rome and have healthy eyes". he wrote of Ernst Ferdinand Oehme that he might have got further in art had he "not travelled to Rome" and that he had "greatly improved" since returning from thence, getting clear of the fashionable influence of Joseph Anton Koch who was "no longer a student of nature". He also wrote of a number of similar artists as being "no longer satisfied with our German sun, moon and stars, our rocks, trees and herbs, seas and rivers"His reason for rejecting a trip to Italy is unknown, possibly for fear of betraying German brotherhood, though it was not from lack of funds, since he turned down invitations from his painter friend Frederik Christian Lund in 1816:Thank you for your friendly invitation to Rome, but I must admit my mind never went there. But now that I am leafing through some of H[err] Farber's sketchbooks I have become almost completely different. I can now imagine travelling to Rome and living there. But I couldn't think of returning north without shuddering; in my opinion, that would mean so much: like burying oneself alive. I put up with staying put, without grumbling, if fate wills it that way; but going backwards is contrary to my nature. My whole being is outragedJens Christian Jensen argues that Friedrich deliberately and rigorously kept both his radius of travel and his choice of subjects for his pictures narrow. Ironically, Friedrich's friend Johan Christian Clausen Dahl took him to Naples virtually by including a figure of him in his Eruption of Vesuvius, identifiable from a labelled preparatory drawing.Friedrich was not alone in criticising the Nazarenes, though the Nazarenes themselves maintained that only artists could judge art Johann Christian Reinhart, Bertel Thorvaldsen, Philipp Veit and Joseph Anton Koch wrote counterblasts to the German art critics in the polemic Drei Schreiben aus Rom gegen Kunstschreiberei in Deutschland. However, many artists such as Ludwig Richter did diminish in quality after time in Italy, producing emptier and emptier work the more time they spent there.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: Focus on The Temple of Juno in Agrigento and explain the Analysis.

Most of the rest of Friedrich's oeuvre rejects neoclassicism and its idealised versions of Roman and Greek architecture in favour of the Gothic. Helmut Börsch-Supan interprets the temple's depiction in the work, surrounded by a barren landscape, symbolises the death of ancient pagan religion, as in the artist's treatment of pagan megalithic tombs, whilst Jens Christian Jensen argued that the work was painted to prove an artist could produce profound Italian subjects without actually having to travel there. Detlef Stapf sees it as a melancholic architectural work drawing on an idea in Christian Cay Lorenz Hirschfeld's Theorie der Gartenkunst (Theory of Garden Art) and that it was produced in hope of its being easier to sell than Friedrich's Gothic works.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: Explain the Analysis of this artwork, The Temple of Juno in Agrigento.

Most of the rest of Friedrich's oeuvre rejects neoclassicism and its idealised versions of Roman and Greek architecture in favour of the Gothic. Helmut Börsch-Supan interprets the temple's depiction in the work, surrounded by a barren landscape, symbolises the death of ancient pagan religion, as in the artist's treatment of pagan megalithic tombs, whilst Jens Christian Jensen argued that the work was painted to prove an artist could produce profound Italian subjects without actually having to travel there. Detlef Stapf sees it as a melancholic architectural work drawing on an idea in Christian Cay Lorenz Hirschfeld's Theorie der Gartenkunst (Theory of Garden Art) and that it was produced in hope of its being easier to sell than Friedrich's Gothic works.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: How does The Temple of Juno in Agrigento explain its Analysis?

Most of the rest of Friedrich's oeuvre rejects neoclassicism and its idealised versions of Roman and Greek architecture in favour of the Gothic. Helmut Börsch-Supan interprets the temple's depiction in the work, surrounded by a barren landscape, symbolises the death of ancient pagan religion, as in the artist's treatment of pagan megalithic tombs, whilst Jens Christian Jensen argued that the work was painted to prove an artist could produce profound Italian subjects without actually having to travel there. Detlef Stapf sees it as a melancholic architectural work drawing on an idea in Christian Cay Lorenz Hirschfeld's Theorie der Gartenkunst (Theory of Garden Art) and that it was produced in hope of its being easier to sell than Friedrich's Gothic works.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: In The Temple of Juno in Agrigento, how is the Analysis discussed?

Most of the rest of Friedrich's oeuvre rejects neoclassicism and its idealised versions of Roman and Greek architecture in favour of the Gothic. Helmut Börsch-Supan interprets the temple's depiction in the work, surrounded by a barren landscape, symbolises the death of ancient pagan religion, as in the artist's treatment of pagan megalithic tombs, whilst Jens Christian Jensen argued that the work was painted to prove an artist could produce profound Italian subjects without actually having to travel there. Detlef Stapf sees it as a melancholic architectural work drawing on an idea in Christian Cay Lorenz Hirschfeld's Theorie der Gartenkunst (Theory of Garden Art) and that it was produced in hope of its being easier to sell than Friedrich's Gothic works.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: In the context of The Temple of Juno in Agrigento, explain the Sources and the Analysis.

According to Paul Ortwin Rave the work was based on an aquatint by Franz Hegi, itself based on a watercolour by Carl Ludwig Frommel. Hegi produced the aquatints for Voyage pittoresque en Sicile for the Paris book-dealer Jean Frédérik Ostervald between 1822 and 1826., though the watercolours on which they were based dated back to 1780.Friedrich made several modifications to the source print, omitting the staffage and aloe trees in the foreground and the olive trees in the right middle ground and turning the lighting from frontal daylight to a background sunset. The rubble to the left was reworked as Elbe sandstone and the trees and shrubs turned into central European examples from Friedrich's homeland, the background mountains were altered, both showing the painter's lack of interest in the ruins' original Mediterranean setting. Altogether his alterations also demonstrate his obedience to Christian Cay Lorenz Hirschfeld's 'Wirkungsästhetik', particularly as stated in the chapter 'Of Temples, Grottoes, Hermitages, Chapels and Ruins' in Theorie der Gartenkunst:What sensations of melancholy and sadness did not sometimes seize the traveling admirers of antiquity when, in the formerly beautifully built lands of Greece, they found sleeping places for shepherds and wild animals' caves amidst the remains of temples! [Richard] Chandler describes such a fierce appearance when he saw the ruins of the [Hellenistic] Temple of Apollo at Ura, not far from Miletus. The columns were so extraordinarily beautiful, the marble mass so large and noble that it is perhaps impossible to imagine more beautiful or majestic ruins [...] The whole mass was illuminated by the setting sun with a variety of rich inks, and cast a very strong shadow. The distant sea was flat and shiny, and bordered by a mountainous coast with rocky islands.Friedrich's adaptations of the source watercolour and print also show the contrast between neo-classicism and romanticism and between classicising tendencies in art and Friedrich's Christian-Romanticism. The watercolour was intended not only as a tool and record of archaeology (then rapidly developing as a subject), but also as a way of transmitting to German readers as much information as possible about the ancient ruins and contemporary Sicilian vegetation, animal husbandry, local people and landscapes and a way of demonstrating to Christian readers the downfall of ancient pagan religion. In contrast, Romanticism is less interested in accurate topographical and historical information than in how the temple and landscape would act on the beholder's souls, with the temple's shadow at sunset more important than the temple itself. This especially manifests itself in the work's close-up detail, initially drawn in pencil on a light primer layer, before being reinforced with a reed pen and then glazed in several thin layers to give shades of tone and a different viewing experience at different distances.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: Explain the Sources about the Analysis of this artwork, The Temple of Juno in Agrigento.

According to Paul Ortwin Rave the work was based on an aquatint by Franz Hegi, itself based on a watercolour by Carl Ludwig Frommel. Hegi produced the aquatints for Voyage pittoresque en Sicile for the Paris book-dealer Jean Frédérik Ostervald between 1822 and 1826., though the watercolours on which they were based dated back to 1780.Friedrich made several modifications to the source print, omitting the staffage and aloe trees in the foreground and the olive trees in the right middle ground and turning the lighting from frontal daylight to a background sunset. The rubble to the left was reworked as Elbe sandstone and the trees and shrubs turned into central European examples from Friedrich's homeland, the background mountains were altered, both showing the painter's lack of interest in the ruins' original Mediterranean setting. Altogether his alterations also demonstrate his obedience to Christian Cay Lorenz Hirschfeld's 'Wirkungsästhetik', particularly as stated in the chapter 'Of Temples, Grottoes, Hermitages, Chapels and Ruins' in Theorie der Gartenkunst:What sensations of melancholy and sadness did not sometimes seize the traveling admirers of antiquity when, in the formerly beautifully built lands of Greece, they found sleeping places for shepherds and wild animals' caves amidst the remains of temples! [Richard] Chandler describes such a fierce appearance when he saw the ruins of the [Hellenistic] Temple of Apollo at Ura, not far from Miletus. The columns were so extraordinarily beautiful, the marble mass so large and noble that it is perhaps impossible to imagine more beautiful or majestic ruins [...] The whole mass was illuminated by the setting sun with a variety of rich inks, and cast a very strong shadow. The distant sea was flat and shiny, and bordered by a mountainous coast with rocky islands.Friedrich's adaptations of the source watercolour and print also show the contrast between neo-classicism and romanticism and between classicising tendencies in art and Friedrich's Christian-Romanticism. The watercolour was intended not only as a tool and record of archaeology (then rapidly developing as a subject), but also as a way of transmitting to German readers as much information as possible about the ancient ruins and contemporary Sicilian vegetation, animal husbandry, local people and landscapes and a way of demonstrating to Christian readers the downfall of ancient pagan religion. In contrast, Romanticism is less interested in accurate topographical and historical information than in how the temple and landscape would act on the beholder's souls, with the temple's shadow at sunset more important than the temple itself. This especially manifests itself in the work's close-up detail, initially drawn in pencil on a light primer layer, before being reinforced with a reed pen and then glazed in several thin layers to give shades of tone and a different viewing experience at different distances.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: In The Temple of Juno in Agrigento, how is the Sources of the Analysis explained?

According to Paul Ortwin Rave the work was based on an aquatint by Franz Hegi, itself based on a watercolour by Carl Ludwig Frommel. Hegi produced the aquatints for Voyage pittoresque en Sicile for the Paris book-dealer Jean Frédérik Ostervald between 1822 and 1826., though the watercolours on which they were based dated back to 1780.Friedrich made several modifications to the source print, omitting the staffage and aloe trees in the foreground and the olive trees in the right middle ground and turning the lighting from frontal daylight to a background sunset. The rubble to the left was reworked as Elbe sandstone and the trees and shrubs turned into central European examples from Friedrich's homeland, the background mountains were altered, both showing the painter's lack of interest in the ruins' original Mediterranean setting. Altogether his alterations also demonstrate his obedience to Christian Cay Lorenz Hirschfeld's 'Wirkungsästhetik', particularly as stated in the chapter 'Of Temples, Grottoes, Hermitages, Chapels and Ruins' in Theorie der Gartenkunst:What sensations of melancholy and sadness did not sometimes seize the traveling admirers of antiquity when, in the formerly beautifully built lands of Greece, they found sleeping places for shepherds and wild animals' caves amidst the remains of temples! [Richard] Chandler describes such a fierce appearance when he saw the ruins of the [Hellenistic] Temple of Apollo at Ura, not far from Miletus. The columns were so extraordinarily beautiful, the marble mass so large and noble that it is perhaps impossible to imagine more beautiful or majestic ruins [...] The whole mass was illuminated by the setting sun with a variety of rich inks, and cast a very strong shadow. The distant sea was flat and shiny, and bordered by a mountainous coast with rocky islands.Friedrich's adaptations of the source watercolour and print also show the contrast between neo-classicism and romanticism and between classicising tendencies in art and Friedrich's Christian-Romanticism. The watercolour was intended not only as a tool and record of archaeology (then rapidly developing as a subject), but also as a way of transmitting to German readers as much information as possible about the ancient ruins and contemporary Sicilian vegetation, animal husbandry, local people and landscapes and a way of demonstrating to Christian readers the downfall of ancient pagan religion. In contrast, Romanticism is less interested in accurate topographical and historical information than in how the temple and landscape would act on the beholder's souls, with the temple's shadow at sunset more important than the temple itself. This especially manifests itself in the work's close-up detail, initially drawn in pencil on a light primer layer, before being reinforced with a reed pen and then glazed in several thin layers to give shades of tone and a different viewing experience at different distances.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: Describe the characteristics of the Sources in The Temple of Juno in Agrigento's Analysis.

According to Paul Ortwin Rave the work was based on an aquatint by Franz Hegi, itself based on a watercolour by Carl Ludwig Frommel. Hegi produced the aquatints for Voyage pittoresque en Sicile for the Paris book-dealer Jean Frédérik Ostervald between 1822 and 1826., though the watercolours on which they were based dated back to 1780.Friedrich made several modifications to the source print, omitting the staffage and aloe trees in the foreground and the olive trees in the right middle ground and turning the lighting from frontal daylight to a background sunset. The rubble to the left was reworked as Elbe sandstone and the trees and shrubs turned into central European examples from Friedrich's homeland, the background mountains were altered, both showing the painter's lack of interest in the ruins' original Mediterranean setting. Altogether his alterations also demonstrate his obedience to Christian Cay Lorenz Hirschfeld's 'Wirkungsästhetik', particularly as stated in the chapter 'Of Temples, Grottoes, Hermitages, Chapels and Ruins' in Theorie der Gartenkunst:What sensations of melancholy and sadness did not sometimes seize the traveling admirers of antiquity when, in the formerly beautifully built lands of Greece, they found sleeping places for shepherds and wild animals' caves amidst the remains of temples! [Richard] Chandler describes such a fierce appearance when he saw the ruins of the [Hellenistic] Temple of Apollo at Ura, not far from Miletus. The columns were so extraordinarily beautiful, the marble mass so large and noble that it is perhaps impossible to imagine more beautiful or majestic ruins [...] The whole mass was illuminated by the setting sun with a variety of rich inks, and cast a very strong shadow. The distant sea was flat and shiny, and bordered by a mountainous coast with rocky islands.Friedrich's adaptations of the source watercolour and print also show the contrast between neo-classicism and romanticism and between classicising tendencies in art and Friedrich's Christian-Romanticism. The watercolour was intended not only as a tool and record of archaeology (then rapidly developing as a subject), but also as a way of transmitting to German readers as much information as possible about the ancient ruins and contemporary Sicilian vegetation, animal husbandry, local people and landscapes and a way of demonstrating to Christian readers the downfall of ancient pagan religion. In contrast, Romanticism is less interested in accurate topographical and historical information than in how the temple and landscape would act on the beholder's souls, with the temple's shadow at sunset more important than the temple itself. This especially manifests itself in the work's close-up detail, initially drawn in pencil on a light primer layer, before being reinforced with a reed pen and then glazed in several thin layers to give shades of tone and a different viewing experience at different distances.

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: Focus on The Temple of Juno in Agrigento and explain the Place in Friedrich's oeuvre.

An ancient temple is a rare but not unique motif in the artist's work. Around 1803 he produced the etching Landscape with Temple Ruins., possibly created according to Hirschfeld's Theorie der Gartenkunst (Theory of Garden Art).

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: Explain the Place in Friedrich's oeuvre of this artwork, The Temple of Juno in Agrigento.

An ancient temple is a rare but not unique motif in the artist's work. Around 1803 he produced the etching Landscape with Temple Ruins., possibly created according to Hirschfeld's Theorie der Gartenkunst (Theory of Garden Art).

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: How does The Temple of Juno in Agrigento explain its Place in Friedrich's oeuvre?

An ancient temple is a rare but not unique motif in the artist's work. Around 1803 he produced the etching Landscape with Temple Ruins., possibly created according to Hirschfeld's Theorie der Gartenkunst (Theory of Garden Art).

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: In The Temple of Juno in Agrigento, how is the Place in Friedrich's oeuvre discussed?

An ancient temple is a rare but not unique motif in the artist's work. Around 1803 he produced the etching Landscape with Temple Ruins., possibly created according to Hirschfeld's Theorie der Gartenkunst (Theory of Garden Art).

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: Focus on The Temple of Juno in Agrigento and explain the Bibliography (in German).

Hermann Beenken: Eine romantische Landschaft mit dem Junotempel von Agrigent. In: Die Kunst 59, S. 1, 2Helmut Börsch-Supan, Karl Wilhelm Jähnig: Caspar David Friedrich. Gemälde, Druckgraphik und bildmäßige Zeichnungen, Prestel Verlag, München 1973, ISBN 3-7913-0053-9 (Werkverzeichnis)Sigrid Hinz (Hrsg.): Caspar David Friedrich in Briefen und Bekenntnissen. Henschelverlag Kunst und Gesellschaft, Berlin 1974Jens Christian Jensen: Caspar David Friedrich. Leben und Werk. DuMont Verlag, Köln 1999Detlef Stapf: Caspar David Friedrichs verborgene Landschaften. Die Neubrandenburger Kontexte. Greifswald 2014, netzbasiert P-BookHerrmann Zschoche: Caspar David Friedrich. Die Briefe. ConferencePoint Verlag, Hamburg 2005, ISBN 3-936406-12-X

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: Explain the Bibliography (in German) of this artwork, The Temple of Juno in Agrigento.

Hermann Beenken: Eine romantische Landschaft mit dem Junotempel von Agrigent. In: Die Kunst 59, S. 1, 2Helmut Börsch-Supan, Karl Wilhelm Jähnig: Caspar David Friedrich. Gemälde, Druckgraphik und bildmäßige Zeichnungen, Prestel Verlag, München 1973, ISBN 3-7913-0053-9 (Werkverzeichnis)Sigrid Hinz (Hrsg.): Caspar David Friedrich in Briefen und Bekenntnissen. Henschelverlag Kunst und Gesellschaft, Berlin 1974Jens Christian Jensen: Caspar David Friedrich. Leben und Werk. DuMont Verlag, Köln 1999Detlef Stapf: Caspar David Friedrichs verborgene Landschaften. Die Neubrandenburger Kontexte. Greifswald 2014, netzbasiert P-BookHerrmann Zschoche: Caspar David Friedrich. Die Briefe. ConferencePoint Verlag, Hamburg 2005, ISBN 3-936406-12-X

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: How does The Temple of Juno in Agrigento explain its Bibliography (in German)?

Hermann Beenken: Eine romantische Landschaft mit dem Junotempel von Agrigent. In: Die Kunst 59, S. 1, 2Helmut Börsch-Supan, Karl Wilhelm Jähnig: Caspar David Friedrich. Gemälde, Druckgraphik und bildmäßige Zeichnungen, Prestel Verlag, München 1973, ISBN 3-7913-0053-9 (Werkverzeichnis)Sigrid Hinz (Hrsg.): Caspar David Friedrich in Briefen und Bekenntnissen. Henschelverlag Kunst und Gesellschaft, Berlin 1974Jens Christian Jensen: Caspar David Friedrich. Leben und Werk. DuMont Verlag, Köln 1999Detlef Stapf: Caspar David Friedrichs verborgene Landschaften. Die Neubrandenburger Kontexte. Greifswald 2014, netzbasiert P-BookHerrmann Zschoche: Caspar David Friedrich. Die Briefe. ConferencePoint Verlag, Hamburg 2005, ISBN 3-936406-12-X

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Temple of Juno in Agrigento

Prompt: In The Temple of Juno in Agrigento, how is the Bibliography (in German) discussed?

Hermann Beenken: Eine romantische Landschaft mit dem Junotempel von Agrigent. In: Die Kunst 59, S. 1, 2Helmut Börsch-Supan, Karl Wilhelm Jähnig: Caspar David Friedrich. Gemälde, Druckgraphik und bildmäßige Zeichnungen, Prestel Verlag, München 1973, ISBN 3-7913-0053-9 (Werkverzeichnis)Sigrid Hinz (Hrsg.): Caspar David Friedrich in Briefen und Bekenntnissen. Henschelverlag Kunst und Gesellschaft, Berlin 1974Jens Christian Jensen: Caspar David Friedrich. Leben und Werk. DuMont Verlag, Köln 1999Detlef Stapf: Caspar David Friedrichs verborgene Landschaften. Die Neubrandenburger Kontexte. Greifswald 2014, netzbasiert P-BookHerrmann Zschoche: Caspar David Friedrich. Die Briefe. ConferencePoint Verlag, Hamburg 2005, ISBN 3-936406-12-X

Category:Paintings in North Rhine-Westphalia

Caspar David Friedrich: ''Landscape with Temple Ruins'', c. 1803

File:1826 Dahl Ausbruch des Vesuv im Dezember 1820 anagoria.JPG

Carl Ludwig Frommel: ''Temple of Agrigento'', before 1780

Friedrich Overbeck: ''Italia und Germania'', 1828

Johan Christian Clausen Dahl: ''Eruption of Vesuvius in December'', 1824

Johan Christian Clausen Dahl: ''Figure of Prof. Friedrich'', drawing (detail), 1824

Category:Paintings by Caspar David Friedrich


The Shrimp Girl

Prompt: Focus on The Shrimp Girl and explain the abstract.

The Shrimp Girl is a painting by the English artist William Hogarth.  It was painted around 1740–1745, and is held by the National Gallery, London.The painting, a relatively late work by Hogarth, is one of several in which he experimented with a loose, almost impressionistic style comparable to the work of Fragonard. In its subject matter, it resembles the prints of hawkers and traders popular in Hogarth's day.The painting depicts a woman selling shellfish on the streets of London, typically a job for the wives and daughters of fishmongers who owned stalls in markets such as Billingsgate.  The subject balances a large basket on her head, bearing shrimps and mussels, together with a half-pint pewter pot as a measure.  Its size suggests that it was intended as a portrait, rather than a sketch for a larger work.It is not strictly finished and was still in Hogarth's estate after his death.  His widow Jane was said to have told visitors on showing the picture to them: "They say he could not paint flesh. There is flesh and blood for you."  It was only sold after his wife's death in 1789, and first received its title The Shrimp Girl in a Christie's sale catalogue.

Category:Paintings in the National Gallery, London


The Shrimp Girl

Prompt: Explain the abstract of this artwork, The Shrimp Girl.

The Shrimp Girl is a painting by the English artist William Hogarth.  It was painted around 1740–1745, and is held by the National Gallery, London.The painting, a relatively late work by Hogarth, is one of several in which he experimented with a loose, almost impressionistic style comparable to the work of Fragonard. In its subject matter, it resembles the prints of hawkers and traders popular in Hogarth's day.The painting depicts a woman selling shellfish on the streets of London, typically a job for the wives and daughters of fishmongers who owned stalls in markets such as Billingsgate.  The subject balances a large basket on her head, bearing shrimps and mussels, together with a half-pint pewter pot as a measure.  Its size suggests that it was intended as a portrait, rather than a sketch for a larger work.It is not strictly finished and was still in Hogarth's estate after his death.  His widow Jane was said to have told visitors on showing the picture to them: "They say he could not paint flesh. There is flesh and blood for you."  It was only sold after his wife's death in 1789, and first received its title The Shrimp Girl in a Christie's sale catalogue.

Category:Paintings in the National Gallery, London


The Shrimp Girl

Prompt: How does The Shrimp Girl explain its abstract?

The Shrimp Girl is a painting by the English artist William Hogarth.  It was painted around 1740–1745, and is held by the National Gallery, London.The painting, a relatively late work by Hogarth, is one of several in which he experimented with a loose, almost impressionistic style comparable to the work of Fragonard. In its subject matter, it resembles the prints of hawkers and traders popular in Hogarth's day.The painting depicts a woman selling shellfish on the streets of London, typically a job for the wives and daughters of fishmongers who owned stalls in markets such as Billingsgate.  The subject balances a large basket on her head, bearing shrimps and mussels, together with a half-pint pewter pot as a measure.  Its size suggests that it was intended as a portrait, rather than a sketch for a larger work.It is not strictly finished and was still in Hogarth's estate after his death.  His widow Jane was said to have told visitors on showing the picture to them: "They say he could not paint flesh. There is flesh and blood for you."  It was only sold after his wife's death in 1789, and first received its title The Shrimp Girl in a Christie's sale catalogue.

Category:Paintings in the National Gallery, London


The Shrimp Girl

Prompt: In The Shrimp Girl, how is the abstract discussed?

The Shrimp Girl is a painting by the English artist William Hogarth.  It was painted around 1740–1745, and is held by the National Gallery, London.The painting, a relatively late work by Hogarth, is one of several in which he experimented with a loose, almost impressionistic style comparable to the work of Fragonard. In its subject matter, it resembles the prints of hawkers and traders popular in Hogarth's day.The painting depicts a woman selling shellfish on the streets of London, typically a job for the wives and daughters of fishmongers who owned stalls in markets such as Billingsgate.  The subject balances a large basket on her head, bearing shrimps and mussels, together with a half-pint pewter pot as a measure.  Its size suggests that it was intended as a portrait, rather than a sketch for a larger work.It is not strictly finished and was still in Hogarth's estate after his death.  His widow Jane was said to have told visitors on showing the picture to them: "They say he could not paint flesh. There is flesh and blood for you."  It was only sold after his wife's death in 1789, and first received its title The Shrimp Girl in a Christie's sale catalogue.

Category:Paintings in the National Gallery, London


The Talisman (painting)

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

The Talisman is a painting by French artist Paul Sérusier made in 1888, under the guidance of Paul Gauguin at the  artist's colony of Pont-Aven in Brittany.  Formally known as The Bois d'Amour at Pont Aven, it was called The Talisman and became the starting point and icon of the group of young painters called The Nabis.  It was a landmark in early Post-Impressionism, Synthetism, and Cloisonnism. It is now in the Musée d'Orsay in Paris.

Back of the painting, with inscription by Serusier: "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven."

File:The Talisman (painting) by Paul Serusier, reverse.jpg


The Talisman (painting)

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

The Talisman is a painting by French artist Paul Sérusier made in 1888, under the guidance of Paul Gauguin at the  artist's colony of Pont-Aven in Brittany.  Formally known as The Bois d'Amour at Pont Aven, it was called The Talisman and became the starting point and icon of the group of young painters called The Nabis.  It was a landmark in early Post-Impressionism, Synthetism, and Cloisonnism. It is now in the Musée d'Orsay in Paris.

Back of the painting, with inscription by Serusier: "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven."

File:The Talisman (painting) by Paul Serusier, reverse.jpg


The Talisman (painting)

Prompt: How does The Talisman (painting) explain its abstract?

The Talisman is a painting by French artist Paul Sérusier made in 1888, under the guidance of Paul Gauguin at the  artist's colony of Pont-Aven in Brittany.  Formally known as The Bois d'Amour at Pont Aven, it was called The Talisman and became the starting point and icon of the group of young painters called The Nabis.  It was a landmark in early Post-Impressionism, Synthetism, and Cloisonnism. It is now in the Musée d'Orsay in Paris.

Back of the painting, with inscription by Serusier: "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven."

File:The Talisman (painting) by Paul Serusier, reverse.jpg


The Talisman (painting)

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

The Talisman is a painting by French artist Paul Sérusier made in 1888, under the guidance of Paul Gauguin at the  artist's colony of Pont-Aven in Brittany.  Formally known as The Bois d'Amour at Pont Aven, it was called The Talisman and became the starting point and icon of the group of young painters called The Nabis.  It was a landmark in early Post-Impressionism, Synthetism, and Cloisonnism. It is now in the Musée d'Orsay in Paris.

Back of the painting, with inscription by Serusier: "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven."

File:The Talisman (painting) by Paul Serusier, reverse.jpg


The Talisman (painting)

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

In October 1888 the young painter Paul Sérusier, age twenty-four,  traveled to the artist's colony at Pont-Aven in Brittany, with a letter of introduction to Paul Gauguin. Sérusier had completed his studies at the Lycée Fontaine (now the Lycée Condorcet) in Paris, where he had met other aspiring artists, including Pierre Bonnard and Maurice Denis, the future Nabis. Together they had enrolled at a private art school, the Académie Julian.  With his letter to Gauguin from Émile Bernard, he intended to make studies of nature in the picturesque countryside around Pont-Aven.Sérusier later described his experience to Maurice Denis, who recounted it later in his own book.  Sérusier and Gauguin had walked to the Bois d'Amour, a particularly picturesque landscape of forest and rocks along the river Aven, not far from the village.  There, according to Sérusier's account to Denis, Gauguin told him: "How do you see these trees?  They're yellow. So, put some yellow. This shadow, it's rather blue, paint it with pure ultramarine.  Those red leaves? Put vermillion."  The result was a painting with pure and flat colors, which represented not a representation of the scene, but the visual sensations of the painter. On the back of the canvas, Sérusier wrote, "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven." He brought the painting back to Paris, and showed it to his fellow students  at the Academie Julian.  Many of them made fun of it, but several, particularly Maurice Denis, Pierre Bonnard, and Paul Ranson, Henri-Gabriel Ibels and Renée Piot, were highly enthusiastic. His friends,  the future Nabis, gave the small painting the name The Talisman, and made it the emblem of their new movement.    Describing the first presentation of the painting   Maurice Denis wrote in 1903, "Thus we were presented, for the first time, in a form that was paradoxal and unforgettable, the fertile concept of a flat surface covered with colors assembled in a certain order.The Talisman was not in fact a finished work; it was intended a sketch for a future work, but Sérusier decided not to modify it. The painting was placed in the studio of the oldest of the Nabi painters, Paul-Élie Ranson, age twenty-four, at 25, boulevard du Montparnasse, which was humorously called "The Temple" by the Nabis. It was Ranson who gave the painting the name The Talisman, and he hung it on the wall during the weekly semi-serious ceremonies of the group. Sérusier was active in the Nabis in the beginning, but in about 1895 he began to turn toward the doctrine of esotericism, and the mystical theories of Father Desiderius Lenz. He left Paris in 1895 to settle at Châteauneuf-du-Faou in Brittany.  He died in 1927.The reputation of Sérusier and the Talisman was kept alive by the efforts of Maurice Denis, the chief theorist and historian of the Nabis,  He became the guardian of the painting in about 1903, and  wrote continually about the importance of the artist and the work.  After the death of Denis, the painting became part of the collection of the French government, and eventually of the Musée d'Orsay in Paris.

Back of the painting, with inscription by Serusier: "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven."

File:The Talisman (painting) by Paul Serusier, reverse.jpg


The Talisman (painting)

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

In October 1888 the young painter Paul Sérusier, age twenty-four,  traveled to the artist's colony at Pont-Aven in Brittany, with a letter of introduction to Paul Gauguin. Sérusier had completed his studies at the Lycée Fontaine (now the Lycée Condorcet) in Paris, where he had met other aspiring artists, including Pierre Bonnard and Maurice Denis, the future Nabis. Together they had enrolled at a private art school, the Académie Julian.  With his letter to Gauguin from Émile Bernard, he intended to make studies of nature in the picturesque countryside around Pont-Aven.Sérusier later described his experience to Maurice Denis, who recounted it later in his own book.  Sérusier and Gauguin had walked to the Bois d'Amour, a particularly picturesque landscape of forest and rocks along the river Aven, not far from the village.  There, according to Sérusier's account to Denis, Gauguin told him: "How do you see these trees?  They're yellow. So, put some yellow. This shadow, it's rather blue, paint it with pure ultramarine.  Those red leaves? Put vermillion."  The result was a painting with pure and flat colors, which represented not a representation of the scene, but the visual sensations of the painter. On the back of the canvas, Sérusier wrote, "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven." He brought the painting back to Paris, and showed it to his fellow students  at the Academie Julian.  Many of them made fun of it, but several, particularly Maurice Denis, Pierre Bonnard, and Paul Ranson, Henri-Gabriel Ibels and Renée Piot, were highly enthusiastic. His friends,  the future Nabis, gave the small painting the name The Talisman, and made it the emblem of their new movement.    Describing the first presentation of the painting   Maurice Denis wrote in 1903, "Thus we were presented, for the first time, in a form that was paradoxal and unforgettable, the fertile concept of a flat surface covered with colors assembled in a certain order.The Talisman was not in fact a finished work; it was intended a sketch for a future work, but Sérusier decided not to modify it. The painting was placed in the studio of the oldest of the Nabi painters, Paul-Élie Ranson, age twenty-four, at 25, boulevard du Montparnasse, which was humorously called "The Temple" by the Nabis. It was Ranson who gave the painting the name The Talisman, and he hung it on the wall during the weekly semi-serious ceremonies of the group. Sérusier was active in the Nabis in the beginning, but in about 1895 he began to turn toward the doctrine of esotericism, and the mystical theories of Father Desiderius Lenz. He left Paris in 1895 to settle at Châteauneuf-du-Faou in Brittany.  He died in 1927.The reputation of Sérusier and the Talisman was kept alive by the efforts of Maurice Denis, the chief theorist and historian of the Nabis,  He became the guardian of the painting in about 1903, and  wrote continually about the importance of the artist and the work.  After the death of Denis, the painting became part of the collection of the French government, and eventually of the Musée d'Orsay in Paris.

Back of the painting, with inscription by Serusier: "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven."

File:The Talisman (painting) by Paul Serusier, reverse.jpg


The Talisman (painting)

Prompt: How does The Talisman (painting) explain its History?

In October 1888 the young painter Paul Sérusier, age twenty-four,  traveled to the artist's colony at Pont-Aven in Brittany, with a letter of introduction to Paul Gauguin. Sérusier had completed his studies at the Lycée Fontaine (now the Lycée Condorcet) in Paris, where he had met other aspiring artists, including Pierre Bonnard and Maurice Denis, the future Nabis. Together they had enrolled at a private art school, the Académie Julian.  With his letter to Gauguin from Émile Bernard, he intended to make studies of nature in the picturesque countryside around Pont-Aven.Sérusier later described his experience to Maurice Denis, who recounted it later in his own book.  Sérusier and Gauguin had walked to the Bois d'Amour, a particularly picturesque landscape of forest and rocks along the river Aven, not far from the village.  There, according to Sérusier's account to Denis, Gauguin told him: "How do you see these trees?  They're yellow. So, put some yellow. This shadow, it's rather blue, paint it with pure ultramarine.  Those red leaves? Put vermillion."  The result was a painting with pure and flat colors, which represented not a representation of the scene, but the visual sensations of the painter. On the back of the canvas, Sérusier wrote, "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven." He brought the painting back to Paris, and showed it to his fellow students  at the Academie Julian.  Many of them made fun of it, but several, particularly Maurice Denis, Pierre Bonnard, and Paul Ranson, Henri-Gabriel Ibels and Renée Piot, were highly enthusiastic. His friends,  the future Nabis, gave the small painting the name The Talisman, and made it the emblem of their new movement.    Describing the first presentation of the painting   Maurice Denis wrote in 1903, "Thus we were presented, for the first time, in a form that was paradoxal and unforgettable, the fertile concept of a flat surface covered with colors assembled in a certain order.The Talisman was not in fact a finished work; it was intended a sketch for a future work, but Sérusier decided not to modify it. The painting was placed in the studio of the oldest of the Nabi painters, Paul-Élie Ranson, age twenty-four, at 25, boulevard du Montparnasse, which was humorously called "The Temple" by the Nabis. It was Ranson who gave the painting the name The Talisman, and he hung it on the wall during the weekly semi-serious ceremonies of the group. Sérusier was active in the Nabis in the beginning, but in about 1895 he began to turn toward the doctrine of esotericism, and the mystical theories of Father Desiderius Lenz. He left Paris in 1895 to settle at Châteauneuf-du-Faou in Brittany.  He died in 1927.The reputation of Sérusier and the Talisman was kept alive by the efforts of Maurice Denis, the chief theorist and historian of the Nabis,  He became the guardian of the painting in about 1903, and  wrote continually about the importance of the artist and the work.  After the death of Denis, the painting became part of the collection of the French government, and eventually of the Musée d'Orsay in Paris.

Back of the painting, with inscription by Serusier: "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven."

File:The Talisman (painting) by Paul Serusier, reverse.jpg


The Talisman (painting)

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

In October 1888 the young painter Paul Sérusier, age twenty-four,  traveled to the artist's colony at Pont-Aven in Brittany, with a letter of introduction to Paul Gauguin. Sérusier had completed his studies at the Lycée Fontaine (now the Lycée Condorcet) in Paris, where he had met other aspiring artists, including Pierre Bonnard and Maurice Denis, the future Nabis. Together they had enrolled at a private art school, the Académie Julian.  With his letter to Gauguin from Émile Bernard, he intended to make studies of nature in the picturesque countryside around Pont-Aven.Sérusier later described his experience to Maurice Denis, who recounted it later in his own book.  Sérusier and Gauguin had walked to the Bois d'Amour, a particularly picturesque landscape of forest and rocks along the river Aven, not far from the village.  There, according to Sérusier's account to Denis, Gauguin told him: "How do you see these trees?  They're yellow. So, put some yellow. This shadow, it's rather blue, paint it with pure ultramarine.  Those red leaves? Put vermillion."  The result was a painting with pure and flat colors, which represented not a representation of the scene, but the visual sensations of the painter. On the back of the canvas, Sérusier wrote, "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven." He brought the painting back to Paris, and showed it to his fellow students  at the Academie Julian.  Many of them made fun of it, but several, particularly Maurice Denis, Pierre Bonnard, and Paul Ranson, Henri-Gabriel Ibels and Renée Piot, were highly enthusiastic. His friends,  the future Nabis, gave the small painting the name The Talisman, and made it the emblem of their new movement.    Describing the first presentation of the painting   Maurice Denis wrote in 1903, "Thus we were presented, for the first time, in a form that was paradoxal and unforgettable, the fertile concept of a flat surface covered with colors assembled in a certain order.The Talisman was not in fact a finished work; it was intended a sketch for a future work, but Sérusier decided not to modify it. The painting was placed in the studio of the oldest of the Nabi painters, Paul-Élie Ranson, age twenty-four, at 25, boulevard du Montparnasse, which was humorously called "The Temple" by the Nabis. It was Ranson who gave the painting the name The Talisman, and he hung it on the wall during the weekly semi-serious ceremonies of the group. Sérusier was active in the Nabis in the beginning, but in about 1895 he began to turn toward the doctrine of esotericism, and the mystical theories of Father Desiderius Lenz. He left Paris in 1895 to settle at Châteauneuf-du-Faou in Brittany.  He died in 1927.The reputation of Sérusier and the Talisman was kept alive by the efforts of Maurice Denis, the chief theorist and historian of the Nabis,  He became the guardian of the painting in about 1903, and  wrote continually about the importance of the artist and the work.  After the death of Denis, the painting became part of the collection of the French government, and eventually of the Musée d'Orsay in Paris.

Back of the painting, with inscription by Serusier: "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven."

File:The Talisman (painting) by Paul Serusier, reverse.jpg


The Talisman (painting)

Prompt: Focus on The Talisman (painting) and explain the Influence.

The Talisman inspired a series of paintings by the Nabis, following the same principles that Gauguin had expressed to Sérusier. Maurice Denis cited the Talisman in his famous 1914 essay, New Theories of Modern Art and on Sacred Art:  "Remember that a painting, before it is a horse in battle, a nude woman or a sort of anecdote, is essentially a flat surface covered with colors assembled in a certain order."

Back of the painting, with inscription by Serusier: "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven."

File:The Talisman (painting) by Paul Serusier, reverse.jpg


The Talisman (painting)

Prompt: Explain the Influence of this artwork, The Talisman (painting).

The Talisman inspired a series of paintings by the Nabis, following the same principles that Gauguin had expressed to Sérusier. Maurice Denis cited the Talisman in his famous 1914 essay, New Theories of Modern Art and on Sacred Art:  "Remember that a painting, before it is a horse in battle, a nude woman or a sort of anecdote, is essentially a flat surface covered with colors assembled in a certain order."

Back of the painting, with inscription by Serusier: "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven."

File:The Talisman (painting) by Paul Serusier, reverse.jpg


The Talisman (painting)

Prompt: How does The Talisman (painting) explain its Influence?

The Talisman inspired a series of paintings by the Nabis, following the same principles that Gauguin had expressed to Sérusier. Maurice Denis cited the Talisman in his famous 1914 essay, New Theories of Modern Art and on Sacred Art:  "Remember that a painting, before it is a horse in battle, a nude woman or a sort of anecdote, is essentially a flat surface covered with colors assembled in a certain order."

Back of the painting, with inscription by Serusier: "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven."

File:The Talisman (painting) by Paul Serusier, reverse.jpg


The Talisman (painting)

Prompt: In The Talisman (painting), how is the Influence discussed?

The Talisman inspired a series of paintings by the Nabis, following the same principles that Gauguin had expressed to Sérusier. Maurice Denis cited the Talisman in his famous 1914 essay, New Theories of Modern Art and on Sacred Art:  "Remember that a painting, before it is a horse in battle, a nude woman or a sort of anecdote, is essentially a flat surface covered with colors assembled in a certain order."

Back of the painting, with inscription by Serusier: "Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven."

File:The Talisman (painting) by Paul Serusier, reverse.jpg


Nymph and Fawn

Prompt: Focus on Nymph and Fawn and explain the abstract.

Nymph and Fawn is a public artwork by American artist Isidore Konti and located within the Oldfields–Lilly House & Gardens estate on the grounds of the Indianapolis Museum of Art (IMA), near Indianapolis, Indiana. Created in 1917, the bronze sculpture is also a working fountain.  It portrays a female nude pouring water from an urn while standing beside a small fawn.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: Explain the abstract of this artwork, Nymph and Fawn.

Nymph and Fawn is a public artwork by American artist Isidore Konti and located within the Oldfields–Lilly House & Gardens estate on the grounds of the Indianapolis Museum of Art (IMA), near Indianapolis, Indiana. Created in 1917, the bronze sculpture is also a working fountain.  It portrays a female nude pouring water from an urn while standing beside a small fawn.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: How does Nymph and Fawn explain its abstract?

Nymph and Fawn is a public artwork by American artist Isidore Konti and located within the Oldfields–Lilly House & Gardens estate on the grounds of the Indianapolis Museum of Art (IMA), near Indianapolis, Indiana. Created in 1917, the bronze sculpture is also a working fountain.  It portrays a female nude pouring water from an urn while standing beside a small fawn.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: In Nymph and Fawn, how is the abstract discussed?

Nymph and Fawn is a public artwork by American artist Isidore Konti and located within the Oldfields–Lilly House & Gardens estate on the grounds of the Indianapolis Museum of Art (IMA), near Indianapolis, Indiana. Created in 1917, the bronze sculpture is also a working fountain.  It portrays a female nude pouring water from an urn while standing beside a small fawn.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: Focus on Nymph and Fawn and explain the Description.

This cast bronze sculpture group measures 56 1/4" x 24" x 20", and it is patinated a smooth dark brown.  The group features a classicizing female figure (the nymph) and a fawn (young deer, rather than the classical faun usually paired with nymphs). The nymph, coiffed with a vine and nude except for a thin band of cloth draped just below her hips, stands on her proper left leg and rests her folded right leg on a rock formation that reaches nearly as high as her hips. She leans far to her right, turning her torso just slightly downward. Her left arm crosses her body to stabilize and support a large urn resting horizontally on the rock, and her right elbow rests on the urn as she lightly supports her chin with her right hand. She peers downward at a small fawn standing below her in frontal alignment with the viewer. Its head and neck crane upward toward the urn, from which a small fountain of water trickles. The figures and rock formation are closely positioned on a small rectangular bronze base, and the sculpture itself sits on a limestone block. It is positioned at the edge of a small pond into which the urn's water flows.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: Explain the Description of this artwork, Nymph and Fawn.

This cast bronze sculpture group measures 56 1/4" x 24" x 20", and it is patinated a smooth dark brown.  The group features a classicizing female figure (the nymph) and a fawn (young deer, rather than the classical faun usually paired with nymphs). The nymph, coiffed with a vine and nude except for a thin band of cloth draped just below her hips, stands on her proper left leg and rests her folded right leg on a rock formation that reaches nearly as high as her hips. She leans far to her right, turning her torso just slightly downward. Her left arm crosses her body to stabilize and support a large urn resting horizontally on the rock, and her right elbow rests on the urn as she lightly supports her chin with her right hand. She peers downward at a small fawn standing below her in frontal alignment with the viewer. Its head and neck crane upward toward the urn, from which a small fountain of water trickles. The figures and rock formation are closely positioned on a small rectangular bronze base, and the sculpture itself sits on a limestone block. It is positioned at the edge of a small pond into which the urn's water flows.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: How does Nymph and Fawn explain its Description?

This cast bronze sculpture group measures 56 1/4" x 24" x 20", and it is patinated a smooth dark brown.  The group features a classicizing female figure (the nymph) and a fawn (young deer, rather than the classical faun usually paired with nymphs). The nymph, coiffed with a vine and nude except for a thin band of cloth draped just below her hips, stands on her proper left leg and rests her folded right leg on a rock formation that reaches nearly as high as her hips. She leans far to her right, turning her torso just slightly downward. Her left arm crosses her body to stabilize and support a large urn resting horizontally on the rock, and her right elbow rests on the urn as she lightly supports her chin with her right hand. She peers downward at a small fawn standing below her in frontal alignment with the viewer. Its head and neck crane upward toward the urn, from which a small fountain of water trickles. The figures and rock formation are closely positioned on a small rectangular bronze base, and the sculpture itself sits on a limestone block. It is positioned at the edge of a small pond into which the urn's water flows.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: In Nymph and Fawn, how is the Description discussed?

This cast bronze sculpture group measures 56 1/4" x 24" x 20", and it is patinated a smooth dark brown.  The group features a classicizing female figure (the nymph) and a fawn (young deer, rather than the classical faun usually paired with nymphs). The nymph, coiffed with a vine and nude except for a thin band of cloth draped just below her hips, stands on her proper left leg and rests her folded right leg on a rock formation that reaches nearly as high as her hips. She leans far to her right, turning her torso just slightly downward. Her left arm crosses her body to stabilize and support a large urn resting horizontally on the rock, and her right elbow rests on the urn as she lightly supports her chin with her right hand. She peers downward at a small fawn standing below her in frontal alignment with the viewer. Its head and neck crane upward toward the urn, from which a small fountain of water trickles. The figures and rock formation are closely positioned on a small rectangular bronze base, and the sculpture itself sits on a limestone block. It is positioned at the edge of a small pond into which the urn's water flows.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: Focus on Nymph and Fawn and explain the Historical information.

Nymph and Fawn is typical of the graceful, classical style of figuration that Isidore Konti became known for in the early 1900s. Based on a smaller, marble piece by the artist, it was originally the fountain's centerpiece.The sculpture was surveyed in 1988 as part of the Smithsonian American Art Museum's Inventories of American Painting and Sculpture inventory.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: Explain the Historical information of this artwork, Nymph and Fawn.

Nymph and Fawn is typical of the graceful, classical style of figuration that Isidore Konti became known for in the early 1900s. Based on a smaller, marble piece by the artist, it was originally the fountain's centerpiece.The sculpture was surveyed in 1988 as part of the Smithsonian American Art Museum's Inventories of American Painting and Sculpture inventory.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: How does Nymph and Fawn explain its Historical information?

Nymph and Fawn is typical of the graceful, classical style of figuration that Isidore Konti became known for in the early 1900s. Based on a smaller, marble piece by the artist, it was originally the fountain's centerpiece.The sculpture was surveyed in 1988 as part of the Smithsonian American Art Museum's Inventories of American Painting and Sculpture inventory.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: In Nymph and Fawn, how is the Historical information discussed?

Nymph and Fawn is typical of the graceful, classical style of figuration that Isidore Konti became known for in the early 1900s. Based on a smaller, marble piece by the artist, it was originally the fountain's centerpiece.The sculpture was surveyed in 1988 as part of the Smithsonian American Art Museum's Inventories of American Painting and Sculpture inventory.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: In the context of Nymph and Fawn, explain the Location history and the Historical information.

Nymph and Fawn is located near a pond that is part of the original Oldfields Ravine Garden, an informal garden that was designed by Percival Gallagher in 1920. This landscaping project was part of a larger effort by the Olmsted Brothers landscape design firm to visually transform the Oldfields grounds at the time. Its features and plantings were rehabilitated and restored through careful research during the 1990s.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: Explain the Location history about the Historical information of this artwork, Nymph and Fawn.

Nymph and Fawn is located near a pond that is part of the original Oldfields Ravine Garden, an informal garden that was designed by Percival Gallagher in 1920. This landscaping project was part of a larger effort by the Olmsted Brothers landscape design firm to visually transform the Oldfields grounds at the time. Its features and plantings were rehabilitated and restored through careful research during the 1990s.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: In Nymph and Fawn, how is the Location history of the Historical information explained?

Nymph and Fawn is located near a pond that is part of the original Oldfields Ravine Garden, an informal garden that was designed by Percival Gallagher in 1920. This landscaping project was part of a larger effort by the Olmsted Brothers landscape design firm to visually transform the Oldfields grounds at the time. Its features and plantings were rehabilitated and restored through careful research during the 1990s.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: Describe the characteristics of the Location history in Nymph and Fawn's Historical information.

Nymph and Fawn is located near a pond that is part of the original Oldfields Ravine Garden, an informal garden that was designed by Percival Gallagher in 1920. This landscaping project was part of a larger effort by the Olmsted Brothers landscape design firm to visually transform the Oldfields grounds at the time. Its features and plantings were rehabilitated and restored through careful research during the 1990s.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: In the context of Nymph and Fawn, explain the Acquisition and the Historical information.

The sculpture was acquired by the IMA as a gift by Mr. and Mrs. John J. Weldon in 1977.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: Explain the Acquisition about the Historical information of this artwork, Nymph and Fawn.

The sculpture was acquired by the IMA as a gift by Mr. and Mrs. John J. Weldon in 1977.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: In Nymph and Fawn, how is the Acquisition of the Historical information explained?

The sculpture was acquired by the IMA as a gift by Mr. and Mrs. John J. Weldon in 1977.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: Describe the characteristics of the Acquisition in Nymph and Fawn's Historical information.

The sculpture was acquired by the IMA as a gift by Mr. and Mrs. John J. Weldon in 1977.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: Focus on Nymph and Fawn and explain the Artist.

Isidore Konti was born in Vienna, Austria, in 1862.  Beginning at the age of sixteen, he studied art at the Vienna Academy under Edmund von Hellmer, and later continued training at the Meisterschule under Carl Kundmann until 1886.  In the early 1890s, Konti emigrated to the United States and immediately began work in Chicago for the 1893 Columbian Exposition. From there he moved to New York City where he worked as a studio assistant for Karl Bitters and eventually opened his own studio.  By the early 1900s, Konti had established his reputation in the U.S. as an expert modeler through participation in several national expositions. His lyrical, decorative style was well-suited to architectural and sculptural commissions.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: Explain the Artist of this artwork, Nymph and Fawn.

Isidore Konti was born in Vienna, Austria, in 1862.  Beginning at the age of sixteen, he studied art at the Vienna Academy under Edmund von Hellmer, and later continued training at the Meisterschule under Carl Kundmann until 1886.  In the early 1890s, Konti emigrated to the United States and immediately began work in Chicago for the 1893 Columbian Exposition. From there he moved to New York City where he worked as a studio assistant for Karl Bitters and eventually opened his own studio.  By the early 1900s, Konti had established his reputation in the U.S. as an expert modeler through participation in several national expositions. His lyrical, decorative style was well-suited to architectural and sculptural commissions.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art


Nymph and Fawn

Prompt: How does Nymph and Fawn explain its Artist?

Isidore Konti was born in Vienna, Austria, in 1862.  Beginning at the age of sixteen, he studied art at the Vienna Academy under Edmund von Hellmer, and later continued training at the Meisterschule under Carl Kundmann until 1886.  In the early 1890s, Konti emigrated to the United States and immediately began work in Chicago for the 1893 Columbian Exposition. From there he moved to New York City where he worked as a studio assistant for Karl Bitters and eventually opened his own studio.  By the early 1900s, Konti had established his reputation in the U.S. as an expert modeler through participation in several national expositions. His lyrical, decorative style was well-suited to architectural and sculptural commissions.

Category:Outdoor sculptures in Indianapolis

List of Indianapolis Museum of Art artworks

Category:Sculptures in the Indianapolis Museum of Art