Ebbo Gospels

Prompt: Explain the Description of this artwork, Ebbo Gospels.

The Ebbo manuscript is a lavish codex and holds great value, being it was commissioned by the emperor Charlemagne.  Each page is 10 in by 8 in, with details of gold ink. The vellum of the codex is dyed purple to correlate with the colors of royalty. For the Ebbo Gospel to be easier to read and more legible than localized script, Charlemagne created a script called Carolingian Miniscule, based on Roman letters that aided in easier education.  The Gospel book contains a poem to Ebbo (also spelled Ebo). The Ebbo Gospel focus is the four gospels of the new testament and depicts the four evangelists Mark, Matthew, Luke, and John in illustration. In the foreground of the illustration depicting Matthew in the Ebbo Gospels, Matthew is sitting down wearing Roman clothing with his feet outstretched on his foot stool. His face is very expressive as he leans forward using the tools such as an ink horn (left hand), which contained ink, and a stylus (right hand) to create his gospel book with his blank codex. In the background, in the upper right corner, Matthew's symbol, an angel or a man with wings, is holding a scroll. The Roman architecture of classic Byzantine and nature landscape is present in the background.St. Mark's illustration represents him seated in a Roman stool, twisting his body to look upwards towards his symbol of a lion that is holding a scroll. His clothing consists of many lines, shadows, and highlights. Mark's facial expression is relaxed as he dips his stylus in ink to prepare for writing, in the inscribed codex rested on his leg.In St. Luke's illustration he is sitting down looking at his symbol of an ox with his codex, ink horn, and stylus rested in his lap. Another codex is inscribed on a stand in front of Saint Luke, but his eyes are only directed towards his symbol.St. John is illustrated as an older man with a beard, with his head surrounded by a halo. His body is twisted as he looks at his symbol of an eagle to his left, and holds a long scroll across his body.

Utrechts Psalter illustration demonstrating eccentric strokes

alt=Utrechts-Psalter CANTICUM-2 shephard blowing horn


Ebbo Gospels

Prompt: How does Ebbo Gospels explain its Description?

The Ebbo manuscript is a lavish codex and holds great value, being it was commissioned by the emperor Charlemagne.  Each page is 10 in by 8 in, with details of gold ink. The vellum of the codex is dyed purple to correlate with the colors of royalty. For the Ebbo Gospel to be easier to read and more legible than localized script, Charlemagne created a script called Carolingian Miniscule, based on Roman letters that aided in easier education.  The Gospel book contains a poem to Ebbo (also spelled Ebo). The Ebbo Gospel focus is the four gospels of the new testament and depicts the four evangelists Mark, Matthew, Luke, and John in illustration. In the foreground of the illustration depicting Matthew in the Ebbo Gospels, Matthew is sitting down wearing Roman clothing with his feet outstretched on his foot stool. His face is very expressive as he leans forward using the tools such as an ink horn (left hand), which contained ink, and a stylus (right hand) to create his gospel book with his blank codex. In the background, in the upper right corner, Matthew's symbol, an angel or a man with wings, is holding a scroll. The Roman architecture of classic Byzantine and nature landscape is present in the background.St. Mark's illustration represents him seated in a Roman stool, twisting his body to look upwards towards his symbol of a lion that is holding a scroll. His clothing consists of many lines, shadows, and highlights. Mark's facial expression is relaxed as he dips his stylus in ink to prepare for writing, in the inscribed codex rested on his leg.In St. Luke's illustration he is sitting down looking at his symbol of an ox with his codex, ink horn, and stylus rested in his lap. Another codex is inscribed on a stand in front of Saint Luke, but his eyes are only directed towards his symbol.St. John is illustrated as an older man with a beard, with his head surrounded by a halo. His body is twisted as he looks at his symbol of an eagle to his left, and holds a long scroll across his body.

Utrechts Psalter illustration demonstrating eccentric strokes

alt=Utrechts-Psalter CANTICUM-2 shephard blowing horn


Ebbo Gospels

Prompt: In Ebbo Gospels, how is the Description discussed?

The Ebbo manuscript is a lavish codex and holds great value, being it was commissioned by the emperor Charlemagne.  Each page is 10 in by 8 in, with details of gold ink. The vellum of the codex is dyed purple to correlate with the colors of royalty. For the Ebbo Gospel to be easier to read and more legible than localized script, Charlemagne created a script called Carolingian Miniscule, based on Roman letters that aided in easier education.  The Gospel book contains a poem to Ebbo (also spelled Ebo). The Ebbo Gospel focus is the four gospels of the new testament and depicts the four evangelists Mark, Matthew, Luke, and John in illustration. In the foreground of the illustration depicting Matthew in the Ebbo Gospels, Matthew is sitting down wearing Roman clothing with his feet outstretched on his foot stool. His face is very expressive as he leans forward using the tools such as an ink horn (left hand), which contained ink, and a stylus (right hand) to create his gospel book with his blank codex. In the background, in the upper right corner, Matthew's symbol, an angel or a man with wings, is holding a scroll. The Roman architecture of classic Byzantine and nature landscape is present in the background.St. Mark's illustration represents him seated in a Roman stool, twisting his body to look upwards towards his symbol of a lion that is holding a scroll. His clothing consists of many lines, shadows, and highlights. Mark's facial expression is relaxed as he dips his stylus in ink to prepare for writing, in the inscribed codex rested on his leg.In St. Luke's illustration he is sitting down looking at his symbol of an ox with his codex, ink horn, and stylus rested in his lap. Another codex is inscribed on a stand in front of Saint Luke, but his eyes are only directed towards his symbol.St. John is illustrated as an older man with a beard, with his head surrounded by a halo. His body is twisted as he looks at his symbol of an eagle to his left, and holds a long scroll across his body.

Utrechts Psalter illustration demonstrating eccentric strokes

alt=Utrechts-Psalter CANTICUM-2 shephard blowing horn


Ebbo Gospels

Prompt: Focus on Ebbo Gospels and explain the Style.

The Ebbo Gospels style was curated by scholars, artists, and writers in a workshop at Rheims school, who were hired by Charlemagne to study Roman art and replicate it. Greek artists fleeing the Byzantine iconoclasm of the 8th century brought this style to Aachen and Reims to be able to depict iconography.The illustrations have roots in late classical painting; landscapes are represented in an illusionistic style, as a reflection of Roman culture and the landscapes are represented in an illusionistic style. The Roman influences within the art is shown within the clothing drapery, replicating the clothes of Roman philosophers in the illustration, as well as the Byzantine architecture in the background, heavily representing Rome. The emotionalism, however, was new to Carolingian art and distinguishes the Ebbo Gospels from classical art.   Classical art was more naturalistic in replicating the human figure, while the art present in the Ebbo Gospels focused more on art style. Figures such as evangelists are made with swift brush strokes that demonstrate energy, represented in nervous, agitated poses using a streaky style with swift brush strokes. In the 1st Century in Europe, the idea of an enthusiastic prophet was prevalent. This energy is reflected with the quick lines and Matthews eager body language to write having for god.  The artists make use of perspective by adding a foreground and background. The use of three-dimensional space is demonstrated by the depiction of shadows and highlights, the coloring of the sky, furniture, and the architecture in the back. The skewed proportions such as St. Matthews unbalanced look represent  the evangelists are from another world and hold great power.

Utrechts Psalter illustration demonstrating eccentric strokes

alt=Utrechts-Psalter CANTICUM-2 shephard blowing horn


Ebbo Gospels

Prompt: Explain the Style of this artwork, Ebbo Gospels.

The Ebbo Gospels style was curated by scholars, artists, and writers in a workshop at Rheims school, who were hired by Charlemagne to study Roman art and replicate it. Greek artists fleeing the Byzantine iconoclasm of the 8th century brought this style to Aachen and Reims to be able to depict iconography.The illustrations have roots in late classical painting; landscapes are represented in an illusionistic style, as a reflection of Roman culture and the landscapes are represented in an illusionistic style. The Roman influences within the art is shown within the clothing drapery, replicating the clothes of Roman philosophers in the illustration, as well as the Byzantine architecture in the background, heavily representing Rome. The emotionalism, however, was new to Carolingian art and distinguishes the Ebbo Gospels from classical art.   Classical art was more naturalistic in replicating the human figure, while the art present in the Ebbo Gospels focused more on art style. Figures such as evangelists are made with swift brush strokes that demonstrate energy, represented in nervous, agitated poses using a streaky style with swift brush strokes. In the 1st Century in Europe, the idea of an enthusiastic prophet was prevalent. This energy is reflected with the quick lines and Matthews eager body language to write having for god.  The artists make use of perspective by adding a foreground and background. The use of three-dimensional space is demonstrated by the depiction of shadows and highlights, the coloring of the sky, furniture, and the architecture in the back. The skewed proportions such as St. Matthews unbalanced look represent  the evangelists are from another world and hold great power.

Utrechts Psalter illustration demonstrating eccentric strokes

alt=Utrechts-Psalter CANTICUM-2 shephard blowing horn


Ebbo Gospels

Prompt: How does Ebbo Gospels explain its Style?

The Ebbo Gospels style was curated by scholars, artists, and writers in a workshop at Rheims school, who were hired by Charlemagne to study Roman art and replicate it. Greek artists fleeing the Byzantine iconoclasm of the 8th century brought this style to Aachen and Reims to be able to depict iconography.The illustrations have roots in late classical painting; landscapes are represented in an illusionistic style, as a reflection of Roman culture and the landscapes are represented in an illusionistic style. The Roman influences within the art is shown within the clothing drapery, replicating the clothes of Roman philosophers in the illustration, as well as the Byzantine architecture in the background, heavily representing Rome. The emotionalism, however, was new to Carolingian art and distinguishes the Ebbo Gospels from classical art.   Classical art was more naturalistic in replicating the human figure, while the art present in the Ebbo Gospels focused more on art style. Figures such as evangelists are made with swift brush strokes that demonstrate energy, represented in nervous, agitated poses using a streaky style with swift brush strokes. In the 1st Century in Europe, the idea of an enthusiastic prophet was prevalent. This energy is reflected with the quick lines and Matthews eager body language to write having for god.  The artists make use of perspective by adding a foreground and background. The use of three-dimensional space is demonstrated by the depiction of shadows and highlights, the coloring of the sky, furniture, and the architecture in the back. The skewed proportions such as St. Matthews unbalanced look represent  the evangelists are from another world and hold great power.

Utrechts Psalter illustration demonstrating eccentric strokes

alt=Utrechts-Psalter CANTICUM-2 shephard blowing horn


Ebbo Gospels

Prompt: In Ebbo Gospels, how is the Style discussed?

The Ebbo Gospels style was curated by scholars, artists, and writers in a workshop at Rheims school, who were hired by Charlemagne to study Roman art and replicate it. Greek artists fleeing the Byzantine iconoclasm of the 8th century brought this style to Aachen and Reims to be able to depict iconography.The illustrations have roots in late classical painting; landscapes are represented in an illusionistic style, as a reflection of Roman culture and the landscapes are represented in an illusionistic style. The Roman influences within the art is shown within the clothing drapery, replicating the clothes of Roman philosophers in the illustration, as well as the Byzantine architecture in the background, heavily representing Rome. The emotionalism, however, was new to Carolingian art and distinguishes the Ebbo Gospels from classical art.   Classical art was more naturalistic in replicating the human figure, while the art present in the Ebbo Gospels focused more on art style. Figures such as evangelists are made with swift brush strokes that demonstrate energy, represented in nervous, agitated poses using a streaky style with swift brush strokes. In the 1st Century in Europe, the idea of an enthusiastic prophet was prevalent. This energy is reflected with the quick lines and Matthews eager body language to write having for god.  The artists make use of perspective by adding a foreground and background. The use of three-dimensional space is demonstrated by the depiction of shadows and highlights, the coloring of the sky, furniture, and the architecture in the back. The skewed proportions such as St. Matthews unbalanced look represent  the evangelists are from another world and hold great power.

Utrechts Psalter illustration demonstrating eccentric strokes

alt=Utrechts-Psalter CANTICUM-2 shephard blowing horn


Ebbo Gospels

Prompt: In the context of Ebbo Gospels, explain the Iconography and symbolism and the Style.

Each of the evangelist created one gospel, and their symbols correlate to the gospel contents. Matthew is a winged-man, which connects to his gospel containing information about Gods possible relation to king David. Mark's symbol is a lion because of his crying resembling a lions roar. Luke's gospel discusses sacrifice, which correlates to his symbol an ox that connects to Christ's involvement with sacrifices, and John represents an eagle in his gospel, because eagles are able to get close to heaven. St. John also has a halo in his illustration that represents him being very holy. The Ebbo Gospels represent the "Anruftypus" style of iconography, meaning the evangelists are able to look up at their symbols.  The eye contact of the saints towards the symbols allude to a connection. In the illustrations of all evangelists their symbols are holding handscrolls which creates more of a connection between the evangelists and their symbol.

Utrechts Psalter illustration demonstrating eccentric strokes

alt=Utrechts-Psalter CANTICUM-2 shephard blowing horn


Ebbo Gospels

Prompt: Explain the Iconography and symbolism about the Style of this artwork, Ebbo Gospels.

Each of the evangelist created one gospel, and their symbols correlate to the gospel contents. Matthew is a winged-man, which connects to his gospel containing information about Gods possible relation to king David. Mark's symbol is a lion because of his crying resembling a lions roar. Luke's gospel discusses sacrifice, which correlates to his symbol an ox that connects to Christ's involvement with sacrifices, and John represents an eagle in his gospel, because eagles are able to get close to heaven. St. John also has a halo in his illustration that represents him being very holy. The Ebbo Gospels represent the "Anruftypus" style of iconography, meaning the evangelists are able to look up at their symbols.  The eye contact of the saints towards the symbols allude to a connection. In the illustrations of all evangelists their symbols are holding handscrolls which creates more of a connection between the evangelists and their symbol.

Utrechts Psalter illustration demonstrating eccentric strokes

alt=Utrechts-Psalter CANTICUM-2 shephard blowing horn


Ebbo Gospels

Prompt: In Ebbo Gospels, how is the Iconography and symbolism of the Style explained?

Each of the evangelist created one gospel, and their symbols correlate to the gospel contents. Matthew is a winged-man, which connects to his gospel containing information about Gods possible relation to king David. Mark's symbol is a lion because of his crying resembling a lions roar. Luke's gospel discusses sacrifice, which correlates to his symbol an ox that connects to Christ's involvement with sacrifices, and John represents an eagle in his gospel, because eagles are able to get close to heaven. St. John also has a halo in his illustration that represents him being very holy. The Ebbo Gospels represent the "Anruftypus" style of iconography, meaning the evangelists are able to look up at their symbols.  The eye contact of the saints towards the symbols allude to a connection. In the illustrations of all evangelists their symbols are holding handscrolls which creates more of a connection between the evangelists and their symbol.

Utrechts Psalter illustration demonstrating eccentric strokes

alt=Utrechts-Psalter CANTICUM-2 shephard blowing horn


Ebbo Gospels

Prompt: Describe the characteristics of the Iconography and symbolism in Ebbo Gospels's Style.

Each of the evangelist created one gospel, and their symbols correlate to the gospel contents. Matthew is a winged-man, which connects to his gospel containing information about Gods possible relation to king David. Mark's symbol is a lion because of his crying resembling a lions roar. Luke's gospel discusses sacrifice, which correlates to his symbol an ox that connects to Christ's involvement with sacrifices, and John represents an eagle in his gospel, because eagles are able to get close to heaven. St. John also has a halo in his illustration that represents him being very holy. The Ebbo Gospels represent the "Anruftypus" style of iconography, meaning the evangelists are able to look up at their symbols.  The eye contact of the saints towards the symbols allude to a connection. In the illustrations of all evangelists their symbols are holding handscrolls which creates more of a connection between the evangelists and their symbol.

Utrechts Psalter illustration demonstrating eccentric strokes

alt=Utrechts-Psalter CANTICUM-2 shephard blowing horn


Ebbo Gospels

Prompt: In the context of Ebbo Gospels, explain the Similar manuscripts and the Style.

The Codex Aureus of St. Emmeram is a manuscript made in 870 following the Ebbo Gospels style. Although, the Utrecht Psalter is the most famous example made in the same Reims school. The Utrecht Psalters style possibly influenced Carolingian art with its rapid strokes, was an influence for classical art, and the course of medieval art.Historians have noted the similarity between the Utrecht Psalter and the Ebbo Gospels. The evangelist portrait of Matthew in the Ebbo Gospels is similar to the illustration of the psalmist in the first psalm of the Utrecht Psalter. The Carolingian art could be the interpretation of the Utrecht Psalter Classical style that has quick and rapid brush-strokes.Other images in the Ebbo Gospels appear to be based on distortions of drawings which may have been from the Utrecht Psalter.  Goldschmidt, a medieval historian, claims that many of the small details of the Utrecht Psalter can be compared to the features of the Ebbo Gospels. Items such the ink, the way animals are depicted, architecture is illustrates, body language and gestures that people in these books are given, has some connection between both the Ebbo Gospels and the Psalter."In short, we find not one thing, whether it is a stool with a lion's head and claws, or an inkwell, whether it is the lance or the arrow of the warrior, the lions, the birds, the buildings, the figures, and the gestures that cannot be paralleled to the smallest detail in style as well as in content, in the Utrecht Psalter."

Utrechts Psalter illustration demonstrating eccentric strokes

alt=Utrechts-Psalter CANTICUM-2 shephard blowing horn


Ebbo Gospels

Prompt: Explain the Similar manuscripts about the Style of this artwork, Ebbo Gospels.

The Codex Aureus of St. Emmeram is a manuscript made in 870 following the Ebbo Gospels style. Although, the Utrecht Psalter is the most famous example made in the same Reims school. The Utrecht Psalters style possibly influenced Carolingian art with its rapid strokes, was an influence for classical art, and the course of medieval art.Historians have noted the similarity between the Utrecht Psalter and the Ebbo Gospels. The evangelist portrait of Matthew in the Ebbo Gospels is similar to the illustration of the psalmist in the first psalm of the Utrecht Psalter. The Carolingian art could be the interpretation of the Utrecht Psalter Classical style that has quick and rapid brush-strokes.Other images in the Ebbo Gospels appear to be based on distortions of drawings which may have been from the Utrecht Psalter.  Goldschmidt, a medieval historian, claims that many of the small details of the Utrecht Psalter can be compared to the features of the Ebbo Gospels. Items such the ink, the way animals are depicted, architecture is illustrates, body language and gestures that people in these books are given, has some connection between both the Ebbo Gospels and the Psalter."In short, we find not one thing, whether it is a stool with a lion's head and claws, or an inkwell, whether it is the lance or the arrow of the warrior, the lions, the birds, the buildings, the figures, and the gestures that cannot be paralleled to the smallest detail in style as well as in content, in the Utrecht Psalter."

Utrechts Psalter illustration demonstrating eccentric strokes

alt=Utrechts-Psalter CANTICUM-2 shephard blowing horn


Ebbo Gospels

Prompt: In Ebbo Gospels, how is the Similar manuscripts of the Style explained?

The Codex Aureus of St. Emmeram is a manuscript made in 870 following the Ebbo Gospels style. Although, the Utrecht Psalter is the most famous example made in the same Reims school. The Utrecht Psalters style possibly influenced Carolingian art with its rapid strokes, was an influence for classical art, and the course of medieval art.Historians have noted the similarity between the Utrecht Psalter and the Ebbo Gospels. The evangelist portrait of Matthew in the Ebbo Gospels is similar to the illustration of the psalmist in the first psalm of the Utrecht Psalter. The Carolingian art could be the interpretation of the Utrecht Psalter Classical style that has quick and rapid brush-strokes.Other images in the Ebbo Gospels appear to be based on distortions of drawings which may have been from the Utrecht Psalter.  Goldschmidt, a medieval historian, claims that many of the small details of the Utrecht Psalter can be compared to the features of the Ebbo Gospels. Items such the ink, the way animals are depicted, architecture is illustrates, body language and gestures that people in these books are given, has some connection between both the Ebbo Gospels and the Psalter."In short, we find not one thing, whether it is a stool with a lion's head and claws, or an inkwell, whether it is the lance or the arrow of the warrior, the lions, the birds, the buildings, the figures, and the gestures that cannot be paralleled to the smallest detail in style as well as in content, in the Utrecht Psalter."

Utrechts Psalter illustration demonstrating eccentric strokes

alt=Utrechts-Psalter CANTICUM-2 shephard blowing horn


Ebbo Gospels

Prompt: Describe the characteristics of the Similar manuscripts in Ebbo Gospels's Style.

The Codex Aureus of St. Emmeram is a manuscript made in 870 following the Ebbo Gospels style. Although, the Utrecht Psalter is the most famous example made in the same Reims school. The Utrecht Psalters style possibly influenced Carolingian art with its rapid strokes, was an influence for classical art, and the course of medieval art.Historians have noted the similarity between the Utrecht Psalter and the Ebbo Gospels. The evangelist portrait of Matthew in the Ebbo Gospels is similar to the illustration of the psalmist in the first psalm of the Utrecht Psalter. The Carolingian art could be the interpretation of the Utrecht Psalter Classical style that has quick and rapid brush-strokes.Other images in the Ebbo Gospels appear to be based on distortions of drawings which may have been from the Utrecht Psalter.  Goldschmidt, a medieval historian, claims that many of the small details of the Utrecht Psalter can be compared to the features of the Ebbo Gospels. Items such the ink, the way animals are depicted, architecture is illustrates, body language and gestures that people in these books are given, has some connection between both the Ebbo Gospels and the Psalter."In short, we find not one thing, whether it is a stool with a lion's head and claws, or an inkwell, whether it is the lance or the arrow of the warrior, the lions, the birds, the buildings, the figures, and the gestures that cannot be paralleled to the smallest detail in style as well as in content, in the Utrecht Psalter."

Utrechts Psalter illustration demonstrating eccentric strokes

alt=Utrechts-Psalter CANTICUM-2 shephard blowing horn


Statue of Vera Katz

Prompt: Focus on Statue of Vera Katz and explain the abstract.

Vera Katz, also known as Mayor, Vera Katz, is an outdoor bronze sculpture depicting Vera Katz created by American artist Bill Bane. Unveiled in 2006, it is located along the Eastbank Esplanade in Portland, Oregon. Katz, a former mayor of the city between 1993 and 2005, supported arts and culture during her tenure and established Oregon's Percent for Art program. She was also instrumental in developing the Eastbank Esplanade, which is named after her. The sculpture has received a mostly positive reception and has inspired people to adorn it with clothing, flowers and makeup.

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Statue of Vera Katz

Prompt: Explain the abstract of this artwork, Statue of Vera Katz.

Vera Katz, also known as Mayor, Vera Katz, is an outdoor bronze sculpture depicting Vera Katz created by American artist Bill Bane. Unveiled in 2006, it is located along the Eastbank Esplanade in Portland, Oregon. Katz, a former mayor of the city between 1993 and 2005, supported arts and culture during her tenure and established Oregon's Percent for Art program. She was also instrumental in developing the Eastbank Esplanade, which is named after her. The sculpture has received a mostly positive reception and has inspired people to adorn it with clothing, flowers and makeup.

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Statue of Vera Katz

Prompt: How does Statue of Vera Katz explain its abstract?

Vera Katz, also known as Mayor, Vera Katz, is an outdoor bronze sculpture depicting Vera Katz created by American artist Bill Bane. Unveiled in 2006, it is located along the Eastbank Esplanade in Portland, Oregon. Katz, a former mayor of the city between 1993 and 2005, supported arts and culture during her tenure and established Oregon's Percent for Art program. She was also instrumental in developing the Eastbank Esplanade, which is named after her. The sculpture has received a mostly positive reception and has inspired people to adorn it with clothing, flowers and makeup.

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Statue of Vera Katz

Prompt: In Statue of Vera Katz, how is the abstract discussed?

Vera Katz, also known as Mayor, Vera Katz, is an outdoor bronze sculpture depicting Vera Katz created by American artist Bill Bane. Unveiled in 2006, it is located along the Eastbank Esplanade in Portland, Oregon. Katz, a former mayor of the city between 1993 and 2005, supported arts and culture during her tenure and established Oregon's Percent for Art program. She was also instrumental in developing the Eastbank Esplanade, which is named after her. The sculpture has received a mostly positive reception and has inspired people to adorn it with clothing, flowers and makeup.

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Statue of Vera Katz

Prompt: Focus on Statue of Vera Katz and explain the Description.

The statue measures 53 inches (130 cm) x 18 inches (46 cm) x 18 inches (46 cm) and rests on an orange triangular base. Katz is depicted wearing a Portland rose on her lapel.Portland State University's Daily Vanguard described Katz as: "leaning close to a small body with legs crossed and hands in, squeezed together in her lap as if she's cold, too. The teeth are also bared and unusually straight, creating the impression that Katz might snap at passers-by. But overall, the face is open and the hair is particularly lifelike." According to The Oregonian, the sculpture provides a lap on which children can pose and sometimes frightens passersby at night. It is part of the collection of the Regional Arts & Culture Council (RACC). The organization has said: "it seems fitting that [Katz's] political leadership and love for the arts should come together in a public tribute to her".Bane's study for the sculpture, called Vera, is a bronze bust measuring 18 inches (46 cm) x 11 inches (28 cm). The bust is part of a private collection.

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Statue of Vera Katz

Prompt: Explain the Description of this artwork, Statue of Vera Katz.

The statue measures 53 inches (130 cm) x 18 inches (46 cm) x 18 inches (46 cm) and rests on an orange triangular base. Katz is depicted wearing a Portland rose on her lapel.Portland State University's Daily Vanguard described Katz as: "leaning close to a small body with legs crossed and hands in, squeezed together in her lap as if she's cold, too. The teeth are also bared and unusually straight, creating the impression that Katz might snap at passers-by. But overall, the face is open and the hair is particularly lifelike." According to The Oregonian, the sculpture provides a lap on which children can pose and sometimes frightens passersby at night. It is part of the collection of the Regional Arts & Culture Council (RACC). The organization has said: "it seems fitting that [Katz's] political leadership and love for the arts should come together in a public tribute to her".Bane's study for the sculpture, called Vera, is a bronze bust measuring 18 inches (46 cm) x 11 inches (28 cm). The bust is part of a private collection.

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Statue of Vera Katz

Prompt: How does Statue of Vera Katz explain its Description?

The statue measures 53 inches (130 cm) x 18 inches (46 cm) x 18 inches (46 cm) and rests on an orange triangular base. Katz is depicted wearing a Portland rose on her lapel.Portland State University's Daily Vanguard described Katz as: "leaning close to a small body with legs crossed and hands in, squeezed together in her lap as if she's cold, too. The teeth are also bared and unusually straight, creating the impression that Katz might snap at passers-by. But overall, the face is open and the hair is particularly lifelike." According to The Oregonian, the sculpture provides a lap on which children can pose and sometimes frightens passersby at night. It is part of the collection of the Regional Arts & Culture Council (RACC). The organization has said: "it seems fitting that [Katz's] political leadership and love for the arts should come together in a public tribute to her".Bane's study for the sculpture, called Vera, is a bronze bust measuring 18 inches (46 cm) x 11 inches (28 cm). The bust is part of a private collection.

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Statue of Vera Katz

Prompt: In Statue of Vera Katz, how is the Description discussed?

The statue measures 53 inches (130 cm) x 18 inches (46 cm) x 18 inches (46 cm) and rests on an orange triangular base. Katz is depicted wearing a Portland rose on her lapel.Portland State University's Daily Vanguard described Katz as: "leaning close to a small body with legs crossed and hands in, squeezed together in her lap as if she's cold, too. The teeth are also bared and unusually straight, creating the impression that Katz might snap at passers-by. But overall, the face is open and the hair is particularly lifelike." According to The Oregonian, the sculpture provides a lap on which children can pose and sometimes frightens passersby at night. It is part of the collection of the Regional Arts & Culture Council (RACC). The organization has said: "it seems fitting that [Katz's] political leadership and love for the arts should come together in a public tribute to her".Bane's study for the sculpture, called Vera, is a bronze bust measuring 18 inches (46 cm) x 11 inches (28 cm). The bust is part of a private collection.

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Statue of Vera Katz

Prompt: Focus on Statue of Vera Katz and explain the History.

The statue was financed by a "group of generous Portlanders", and its commission was managed by RACC with assistance from members of Katz's former staff. It was unveiled on June 2, 2006, on the plaza at the south end of the Esplanade, just north of the Hawthorne Bridge and Main Street marker.Katz attended the statue's surprise unveiling during an event organized by RACC and funded by friends. Also in attendance were Mayor Tom Potter, three city commissioners, Bill Bane, friends, and former staff members. Wearing a lei brought by her son, Katz said the statue looked "far more beautiful than [her]" and encouraged city officials to continue expanding the Eastbank Esplanade south.The statue went missing temporarily in October 2013, leading to a promise to investigate on Twitter by then-Mayor Sam Adams. In reality it had been temporarily removed for repairs by RACC and Portland Parks. On September 21, 2016, the statue was vandalized. The graffiti included a swastika on the chest of the statue, and writing on the wall next to the Katz statue which read "Vera wants affordable housing". It is unclear whether the vandalism on the wall and statue were both done by the same person.In 2020, during the COVID-19 pandemic, a face mask was affixed to the statue as well as other local artworks.

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Statue of Vera Katz

Prompt: Explain the History of this artwork, Statue of Vera Katz.

The statue was financed by a "group of generous Portlanders", and its commission was managed by RACC with assistance from members of Katz's former staff. It was unveiled on June 2, 2006, on the plaza at the south end of the Esplanade, just north of the Hawthorne Bridge and Main Street marker.Katz attended the statue's surprise unveiling during an event organized by RACC and funded by friends. Also in attendance were Mayor Tom Potter, three city commissioners, Bill Bane, friends, and former staff members. Wearing a lei brought by her son, Katz said the statue looked "far more beautiful than [her]" and encouraged city officials to continue expanding the Eastbank Esplanade south.The statue went missing temporarily in October 2013, leading to a promise to investigate on Twitter by then-Mayor Sam Adams. In reality it had been temporarily removed for repairs by RACC and Portland Parks. On September 21, 2016, the statue was vandalized. The graffiti included a swastika on the chest of the statue, and writing on the wall next to the Katz statue which read "Vera wants affordable housing". It is unclear whether the vandalism on the wall and statue were both done by the same person.In 2020, during the COVID-19 pandemic, a face mask was affixed to the statue as well as other local artworks.

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Statue of Vera Katz

Prompt: How does Statue of Vera Katz explain its History?

The statue was financed by a "group of generous Portlanders", and its commission was managed by RACC with assistance from members of Katz's former staff. It was unveiled on June 2, 2006, on the plaza at the south end of the Esplanade, just north of the Hawthorne Bridge and Main Street marker.Katz attended the statue's surprise unveiling during an event organized by RACC and funded by friends. Also in attendance were Mayor Tom Potter, three city commissioners, Bill Bane, friends, and former staff members. Wearing a lei brought by her son, Katz said the statue looked "far more beautiful than [her]" and encouraged city officials to continue expanding the Eastbank Esplanade south.The statue went missing temporarily in October 2013, leading to a promise to investigate on Twitter by then-Mayor Sam Adams. In reality it had been temporarily removed for repairs by RACC and Portland Parks. On September 21, 2016, the statue was vandalized. The graffiti included a swastika on the chest of the statue, and writing on the wall next to the Katz statue which read "Vera wants affordable housing". It is unclear whether the vandalism on the wall and statue were both done by the same person.In 2020, during the COVID-19 pandemic, a face mask was affixed to the statue as well as other local artworks.

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Statue of Vera Katz

Prompt: In Statue of Vera Katz, how is the History discussed?

The statue was financed by a "group of generous Portlanders", and its commission was managed by RACC with assistance from members of Katz's former staff. It was unveiled on June 2, 2006, on the plaza at the south end of the Esplanade, just north of the Hawthorne Bridge and Main Street marker.Katz attended the statue's surprise unveiling during an event organized by RACC and funded by friends. Also in attendance were Mayor Tom Potter, three city commissioners, Bill Bane, friends, and former staff members. Wearing a lei brought by her son, Katz said the statue looked "far more beautiful than [her]" and encouraged city officials to continue expanding the Eastbank Esplanade south.The statue went missing temporarily in October 2013, leading to a promise to investigate on Twitter by then-Mayor Sam Adams. In reality it had been temporarily removed for repairs by RACC and Portland Parks. On September 21, 2016, the statue was vandalized. The graffiti included a swastika on the chest of the statue, and writing on the wall next to the Katz statue which read "Vera wants affordable housing". It is unclear whether the vandalism on the wall and statue were both done by the same person.In 2020, during the COVID-19 pandemic, a face mask was affixed to the statue as well as other local artworks.

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Statue of Vera Katz

Prompt: Focus on Statue of Vera Katz and explain the Reception.

In 2006, Willamette Week included the sculpture in its annual "Best of Portland" list, under the category "Best Mayoral Monument". According to the paper:... Bane managed to capture much of the ex-mayor's character: Her eyes are friendly and her hair as wild as ever. But Katz's signature grin is a little stiff, a little too aggressive. Leaning forward, she looks as if she might take a bite out of the next passerby. Which by the way, seems appropriate when you look back on her days behind the mayoral desk. Maybe monochromatic bronze just isn't the right medium for a woman as colorful as ol' Vera. Where's the red blazer? Our suggestion: Get this lady some accessories! The right hat or scarf could make that brown pantsuit really work.Daily Vanguard's Celina Monte called the sculpture "fabulously strange" and said it illustrated the "straightforward, tactile and symmetrical properties" of some of Bane's other work. The work has been included in at least one published walking tour of Portland, which noted its function as a meeting location for bicyclists and pedestrians. In 2013, RACC's public art collections manager said the work has received mostly "positive attention" and has been outfitted with hats, flowers and "yarn-bombed" sweaters. It has also attracted books, hats, lipstick, paint and even a "mohawk of cake frosting".

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Statue of Vera Katz

Prompt: Explain the Reception of this artwork, Statue of Vera Katz.

In 2006, Willamette Week included the sculpture in its annual "Best of Portland" list, under the category "Best Mayoral Monument". According to the paper:... Bane managed to capture much of the ex-mayor's character: Her eyes are friendly and her hair as wild as ever. But Katz's signature grin is a little stiff, a little too aggressive. Leaning forward, she looks as if she might take a bite out of the next passerby. Which by the way, seems appropriate when you look back on her days behind the mayoral desk. Maybe monochromatic bronze just isn't the right medium for a woman as colorful as ol' Vera. Where's the red blazer? Our suggestion: Get this lady some accessories! The right hat or scarf could make that brown pantsuit really work.Daily Vanguard's Celina Monte called the sculpture "fabulously strange" and said it illustrated the "straightforward, tactile and symmetrical properties" of some of Bane's other work. The work has been included in at least one published walking tour of Portland, which noted its function as a meeting location for bicyclists and pedestrians. In 2013, RACC's public art collections manager said the work has received mostly "positive attention" and has been outfitted with hats, flowers and "yarn-bombed" sweaters. It has also attracted books, hats, lipstick, paint and even a "mohawk of cake frosting".

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Statue of Vera Katz

Prompt: How does Statue of Vera Katz explain its Reception?

In 2006, Willamette Week included the sculpture in its annual "Best of Portland" list, under the category "Best Mayoral Monument". According to the paper:... Bane managed to capture much of the ex-mayor's character: Her eyes are friendly and her hair as wild as ever. But Katz's signature grin is a little stiff, a little too aggressive. Leaning forward, she looks as if she might take a bite out of the next passerby. Which by the way, seems appropriate when you look back on her days behind the mayoral desk. Maybe monochromatic bronze just isn't the right medium for a woman as colorful as ol' Vera. Where's the red blazer? Our suggestion: Get this lady some accessories! The right hat or scarf could make that brown pantsuit really work.Daily Vanguard's Celina Monte called the sculpture "fabulously strange" and said it illustrated the "straightforward, tactile and symmetrical properties" of some of Bane's other work. The work has been included in at least one published walking tour of Portland, which noted its function as a meeting location for bicyclists and pedestrians. In 2013, RACC's public art collections manager said the work has received mostly "positive attention" and has been outfitted with hats, flowers and "yarn-bombed" sweaters. It has also attracted books, hats, lipstick, paint and even a "mohawk of cake frosting".

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Statue of Vera Katz

Prompt: In Statue of Vera Katz, how is the Reception discussed?

In 2006, Willamette Week included the sculpture in its annual "Best of Portland" list, under the category "Best Mayoral Monument". According to the paper:... Bane managed to capture much of the ex-mayor's character: Her eyes are friendly and her hair as wild as ever. But Katz's signature grin is a little stiff, a little too aggressive. Leaning forward, she looks as if she might take a bite out of the next passerby. Which by the way, seems appropriate when you look back on her days behind the mayoral desk. Maybe monochromatic bronze just isn't the right medium for a woman as colorful as ol' Vera. Where's the red blazer? Our suggestion: Get this lady some accessories! The right hat or scarf could make that brown pantsuit really work.Daily Vanguard's Celina Monte called the sculpture "fabulously strange" and said it illustrated the "straightforward, tactile and symmetrical properties" of some of Bane's other work. The work has been included in at least one published walking tour of Portland, which noted its function as a meeting location for bicyclists and pedestrians. In 2013, RACC's public art collections manager said the work has received mostly "positive attention" and has been outfitted with hats, flowers and "yarn-bombed" sweaters. It has also attracted books, hats, lipstick, paint and even a "mohawk of cake frosting".

Category:Outdoor sculptures in Southeast Portland, Oregon

Category:Monuments and memorials to American women

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Statues of women in the United States

Category:Bronze sculptures in Portland, Oregon


Luther Monument (Worms)

Prompt: Focus on Luther Monument (Worms) and explain the abstract.

The Luther Monument (German: Lutherdenkmal) is a group of statues that was erected in Worms, Rhineland-Palatinate, Germany, to commemorate the Protestant reformer Martin Luther. It was designed and partly made by Ernst Rietschel, and unveiled on 25 June 1868. The monument includes a group of bronze statues on stone plinths centred on a statue of Luther, surrounded by statues of related individuals and allegorical statues representing related towns. The elements are arranged in the shape of a castle, reflecting Luther's hymn "A Mighty Fortress Is Our God" ("Ein feste Burg ist unser Gott" in German).It is the largest of the Luther Monuments, and shaped views of the reformer. Copies of the central Luther statue are located in Europe and the United States, including the Luther Monument in Washington, D.C. (1884).

Category:Monuments and memorials in Germany

Category:1868 establishments in the North German Confederation

Category:Buildings and structures completed in 1868

Category:Cultural depictions of Martin Luther


Luther Monument (Worms)

Prompt: Explain the abstract of this artwork, Luther Monument (Worms).

The Luther Monument (German: Lutherdenkmal) is a group of statues that was erected in Worms, Rhineland-Palatinate, Germany, to commemorate the Protestant reformer Martin Luther. It was designed and partly made by Ernst Rietschel, and unveiled on 25 June 1868. The monument includes a group of bronze statues on stone plinths centred on a statue of Luther, surrounded by statues of related individuals and allegorical statues representing related towns. The elements are arranged in the shape of a castle, reflecting Luther's hymn "A Mighty Fortress Is Our God" ("Ein feste Burg ist unser Gott" in German).It is the largest of the Luther Monuments, and shaped views of the reformer. Copies of the central Luther statue are located in Europe and the United States, including the Luther Monument in Washington, D.C. (1884).

Category:Monuments and memorials in Germany

Category:1868 establishments in the North German Confederation

Category:Buildings and structures completed in 1868

Category:Cultural depictions of Martin Luther


Luther Monument (Worms)

Prompt: How does Luther Monument (Worms) explain its abstract?

The Luther Monument (German: Lutherdenkmal) is a group of statues that was erected in Worms, Rhineland-Palatinate, Germany, to commemorate the Protestant reformer Martin Luther. It was designed and partly made by Ernst Rietschel, and unveiled on 25 June 1868. The monument includes a group of bronze statues on stone plinths centred on a statue of Luther, surrounded by statues of related individuals and allegorical statues representing related towns. The elements are arranged in the shape of a castle, reflecting Luther's hymn "A Mighty Fortress Is Our God" ("Ein feste Burg ist unser Gott" in German).It is the largest of the Luther Monuments, and shaped views of the reformer. Copies of the central Luther statue are located in Europe and the United States, including the Luther Monument in Washington, D.C. (1884).

Category:Monuments and memorials in Germany

Category:1868 establishments in the North German Confederation

Category:Buildings and structures completed in 1868

Category:Cultural depictions of Martin Luther


Luther Monument (Worms)

Prompt: In Luther Monument (Worms), how is the abstract discussed?

The Luther Monument (German: Lutherdenkmal) is a group of statues that was erected in Worms, Rhineland-Palatinate, Germany, to commemorate the Protestant reformer Martin Luther. It was designed and partly made by Ernst Rietschel, and unveiled on 25 June 1868. The monument includes a group of bronze statues on stone plinths centred on a statue of Luther, surrounded by statues of related individuals and allegorical statues representing related towns. The elements are arranged in the shape of a castle, reflecting Luther's hymn "A Mighty Fortress Is Our God" ("Ein feste Burg ist unser Gott" in German).It is the largest of the Luther Monuments, and shaped views of the reformer. Copies of the central Luther statue are located in Europe and the United States, including the Luther Monument in Washington, D.C. (1884).

Category:Monuments and memorials in Germany

Category:1868 establishments in the North German Confederation

Category:Buildings and structures completed in 1868

Category:Cultural depictions of Martin Luther


Luther Monument (Worms)

Prompt: Focus on Luther Monument (Worms) and explain the History.

Plans to build a significant monument to Martin Luther in Worms were already made in the 18th century. In 1856, an association, the Luther-Denkmal-Verein, was formed, which pursued the idea and collected donations from Europe and the Americas. Among the historical topics remembered by the monument are Luther's Ninety-five Theses of 1517 and his appearance at the Diet of Worms in 1521, where he defended his theses facing Charles V, Holy Roman Emperor. The main 3.5 m (11 ft) high bronze statue of Luther is surrounded by eleven others depicting other reformers, political figures, and personified related towns. The statues are mounted on separate stone plinths on a stepped base, and the overall shape of the monument is intended to resemble a castle, representing Luther's hymn "Ein feste Burg ist unser Gott" (A firm castle is our God). Ernst Rietschel designed the group in 1859. He completed the sculptures of Luther and John Wycliff but died in 1861. The other statues were mostly executed by his pupils. Adolf von Donndorf contributed standing figures of Reuchlin and Frederick the Wise of Saxony, seated figures of Girolamo Savonarola, Peter Waldo and an allegorical statue (with mural crown) representing the town of Magdeburg grieving after the Sack of Magdeburg in 1631, as well as reliefs. Johannes Schilling created a statue for the town of Speyer, the location of the Protestation at Speyer in 1529. Gustav Adolph Kietz made statues of Jan Hus, Philipp Melanchthon, Philip I, Landgrave of Hesse, and one for the town of Augsburg, where the Augsburg Confession was first presented in 1530. The architect Georg Hermann Nicolai, a pupil of Gottfried Semper, was also involved. The monument was cast at the Kunst- und Glockengießerei Lauchhammer.Luther is depicted in the robe of preacher, not the habit and cowl of a monk.  He is holding a Bible in his left hand, and rests his right fist upon the book.  According to  Hans A. Pohlsander, "his posture suggests courage and determination".In addition to the main statues, the monument has inscriptions with quotations, scenes from Luther's life, coats of arms of 27 Protestant towns, and bronze relief sculptures depicting two Electors of Saxony, with others including Justus Jonas, Johann Bugenhagen,  Johannes Calvin and Ulrich Zwingli.The monument was unveiled on 25 June 1868 in a ceremony attended by around 20,000 people, including nobility and leading German Protestants. Rietschel's statue of Luther became a typical image of the reformer in the late 19th century and became a model for many monuments to him, with copies in Europe and the United States, such as the Luther Monument in Washington, D.C. (1884), and others at the Concordia Lutheran Seminary in St. Louis (1903), in Decorah, Iowa (1911), Saint Paul, Minnesota (1921), Dubuque, Iowa (1923), and Detroit (1930). The 150th anniversary of the monument was celebrated as a major event in 2018.

Category:Monuments and memorials in Germany

Category:1868 establishments in the North German Confederation

Category:Buildings and structures completed in 1868

Category:Cultural depictions of Martin Luther


Luther Monument (Worms)

Prompt: Explain the History of this artwork, Luther Monument (Worms).

Plans to build a significant monument to Martin Luther in Worms were already made in the 18th century. In 1856, an association, the Luther-Denkmal-Verein, was formed, which pursued the idea and collected donations from Europe and the Americas. Among the historical topics remembered by the monument are Luther's Ninety-five Theses of 1517 and his appearance at the Diet of Worms in 1521, where he defended his theses facing Charles V, Holy Roman Emperor. The main 3.5 m (11 ft) high bronze statue of Luther is surrounded by eleven others depicting other reformers, political figures, and personified related towns. The statues are mounted on separate stone plinths on a stepped base, and the overall shape of the monument is intended to resemble a castle, representing Luther's hymn "Ein feste Burg ist unser Gott" (A firm castle is our God). Ernst Rietschel designed the group in 1859. He completed the sculptures of Luther and John Wycliff but died in 1861. The other statues were mostly executed by his pupils. Adolf von Donndorf contributed standing figures of Reuchlin and Frederick the Wise of Saxony, seated figures of Girolamo Savonarola, Peter Waldo and an allegorical statue (with mural crown) representing the town of Magdeburg grieving after the Sack of Magdeburg in 1631, as well as reliefs. Johannes Schilling created a statue for the town of Speyer, the location of the Protestation at Speyer in 1529. Gustav Adolph Kietz made statues of Jan Hus, Philipp Melanchthon, Philip I, Landgrave of Hesse, and one for the town of Augsburg, where the Augsburg Confession was first presented in 1530. The architect Georg Hermann Nicolai, a pupil of Gottfried Semper, was also involved. The monument was cast at the Kunst- und Glockengießerei Lauchhammer.Luther is depicted in the robe of preacher, not the habit and cowl of a monk.  He is holding a Bible in his left hand, and rests his right fist upon the book.  According to  Hans A. Pohlsander, "his posture suggests courage and determination".In addition to the main statues, the monument has inscriptions with quotations, scenes from Luther's life, coats of arms of 27 Protestant towns, and bronze relief sculptures depicting two Electors of Saxony, with others including Justus Jonas, Johann Bugenhagen,  Johannes Calvin and Ulrich Zwingli.The monument was unveiled on 25 June 1868 in a ceremony attended by around 20,000 people, including nobility and leading German Protestants. Rietschel's statue of Luther became a typical image of the reformer in the late 19th century and became a model for many monuments to him, with copies in Europe and the United States, such as the Luther Monument in Washington, D.C. (1884), and others at the Concordia Lutheran Seminary in St. Louis (1903), in Decorah, Iowa (1911), Saint Paul, Minnesota (1921), Dubuque, Iowa (1923), and Detroit (1930). The 150th anniversary of the monument was celebrated as a major event in 2018.

Category:Monuments and memorials in Germany

Category:1868 establishments in the North German Confederation

Category:Buildings and structures completed in 1868

Category:Cultural depictions of Martin Luther


Luther Monument (Worms)

Prompt: How does Luther Monument (Worms) explain its History?

Plans to build a significant monument to Martin Luther in Worms were already made in the 18th century. In 1856, an association, the Luther-Denkmal-Verein, was formed, which pursued the idea and collected donations from Europe and the Americas. Among the historical topics remembered by the monument are Luther's Ninety-five Theses of 1517 and his appearance at the Diet of Worms in 1521, where he defended his theses facing Charles V, Holy Roman Emperor. The main 3.5 m (11 ft) high bronze statue of Luther is surrounded by eleven others depicting other reformers, political figures, and personified related towns. The statues are mounted on separate stone plinths on a stepped base, and the overall shape of the monument is intended to resemble a castle, representing Luther's hymn "Ein feste Burg ist unser Gott" (A firm castle is our God). Ernst Rietschel designed the group in 1859. He completed the sculptures of Luther and John Wycliff but died in 1861. The other statues were mostly executed by his pupils. Adolf von Donndorf contributed standing figures of Reuchlin and Frederick the Wise of Saxony, seated figures of Girolamo Savonarola, Peter Waldo and an allegorical statue (with mural crown) representing the town of Magdeburg grieving after the Sack of Magdeburg in 1631, as well as reliefs. Johannes Schilling created a statue for the town of Speyer, the location of the Protestation at Speyer in 1529. Gustav Adolph Kietz made statues of Jan Hus, Philipp Melanchthon, Philip I, Landgrave of Hesse, and one for the town of Augsburg, where the Augsburg Confession was first presented in 1530. The architect Georg Hermann Nicolai, a pupil of Gottfried Semper, was also involved. The monument was cast at the Kunst- und Glockengießerei Lauchhammer.Luther is depicted in the robe of preacher, not the habit and cowl of a monk.  He is holding a Bible in his left hand, and rests his right fist upon the book.  According to  Hans A. Pohlsander, "his posture suggests courage and determination".In addition to the main statues, the monument has inscriptions with quotations, scenes from Luther's life, coats of arms of 27 Protestant towns, and bronze relief sculptures depicting two Electors of Saxony, with others including Justus Jonas, Johann Bugenhagen,  Johannes Calvin and Ulrich Zwingli.The monument was unveiled on 25 June 1868 in a ceremony attended by around 20,000 people, including nobility and leading German Protestants. Rietschel's statue of Luther became a typical image of the reformer in the late 19th century and became a model for many monuments to him, with copies in Europe and the United States, such as the Luther Monument in Washington, D.C. (1884), and others at the Concordia Lutheran Seminary in St. Louis (1903), in Decorah, Iowa (1911), Saint Paul, Minnesota (1921), Dubuque, Iowa (1923), and Detroit (1930). The 150th anniversary of the monument was celebrated as a major event in 2018.

Category:Monuments and memorials in Germany

Category:1868 establishments in the North German Confederation

Category:Buildings and structures completed in 1868

Category:Cultural depictions of Martin Luther


Luther Monument (Worms)

Prompt: In Luther Monument (Worms), how is the History discussed?

Plans to build a significant monument to Martin Luther in Worms were already made in the 18th century. In 1856, an association, the Luther-Denkmal-Verein, was formed, which pursued the idea and collected donations from Europe and the Americas. Among the historical topics remembered by the monument are Luther's Ninety-five Theses of 1517 and his appearance at the Diet of Worms in 1521, where he defended his theses facing Charles V, Holy Roman Emperor. The main 3.5 m (11 ft) high bronze statue of Luther is surrounded by eleven others depicting other reformers, political figures, and personified related towns. The statues are mounted on separate stone plinths on a stepped base, and the overall shape of the monument is intended to resemble a castle, representing Luther's hymn "Ein feste Burg ist unser Gott" (A firm castle is our God). Ernst Rietschel designed the group in 1859. He completed the sculptures of Luther and John Wycliff but died in 1861. The other statues were mostly executed by his pupils. Adolf von Donndorf contributed standing figures of Reuchlin and Frederick the Wise of Saxony, seated figures of Girolamo Savonarola, Peter Waldo and an allegorical statue (with mural crown) representing the town of Magdeburg grieving after the Sack of Magdeburg in 1631, as well as reliefs. Johannes Schilling created a statue for the town of Speyer, the location of the Protestation at Speyer in 1529. Gustav Adolph Kietz made statues of Jan Hus, Philipp Melanchthon, Philip I, Landgrave of Hesse, and one for the town of Augsburg, where the Augsburg Confession was first presented in 1530. The architect Georg Hermann Nicolai, a pupil of Gottfried Semper, was also involved. The monument was cast at the Kunst- und Glockengießerei Lauchhammer.Luther is depicted in the robe of preacher, not the habit and cowl of a monk.  He is holding a Bible in his left hand, and rests his right fist upon the book.  According to  Hans A. Pohlsander, "his posture suggests courage and determination".In addition to the main statues, the monument has inscriptions with quotations, scenes from Luther's life, coats of arms of 27 Protestant towns, and bronze relief sculptures depicting two Electors of Saxony, with others including Justus Jonas, Johann Bugenhagen,  Johannes Calvin and Ulrich Zwingli.The monument was unveiled on 25 June 1868 in a ceremony attended by around 20,000 people, including nobility and leading German Protestants. Rietschel's statue of Luther became a typical image of the reformer in the late 19th century and became a model for many monuments to him, with copies in Europe and the United States, such as the Luther Monument in Washington, D.C. (1884), and others at the Concordia Lutheran Seminary in St. Louis (1903), in Decorah, Iowa (1911), Saint Paul, Minnesota (1921), Dubuque, Iowa (1923), and Detroit (1930). The 150th anniversary of the monument was celebrated as a major event in 2018.

Category:Monuments and memorials in Germany

Category:1868 establishments in the North German Confederation

Category:Buildings and structures completed in 1868

Category:Cultural depictions of Martin Luther


Luther Monument (Worms)

Prompt: Focus on Luther Monument (Worms) and explain the Literature.

Ludwig Joseph Hundhausen: Das Luthermonument zu Worms im Lichte der Wahrheit. Gedanken und Thatsachen zur Beantwortung der Frage: Kirche oder Protestantismus? Franz Kirchheim, Mainz 1868.Christiane Theiselmann: Das Wormser Lutherdenkmal Ernst Rietschels (1856–1868) im Rahmen der Lutherrezeption des 19. Jahrhunderts. Europäische Hochschulschriften, Frankfurt am Main 1992. ISBN 3-631-44332-3.Ferdinand Werner: Das Lutherdenkmal und die Wormser Grünanlagen. In: Die Gartenkunst 24 (2/2012), pp. 223–259.

Category:Monuments and memorials in Germany

Category:1868 establishments in the North German Confederation

Category:Buildings and structures completed in 1868

Category:Cultural depictions of Martin Luther


Luther Monument (Worms)

Prompt: Explain the Literature of this artwork, Luther Monument (Worms).

Ludwig Joseph Hundhausen: Das Luthermonument zu Worms im Lichte der Wahrheit. Gedanken und Thatsachen zur Beantwortung der Frage: Kirche oder Protestantismus? Franz Kirchheim, Mainz 1868.Christiane Theiselmann: Das Wormser Lutherdenkmal Ernst Rietschels (1856–1868) im Rahmen der Lutherrezeption des 19. Jahrhunderts. Europäische Hochschulschriften, Frankfurt am Main 1992. ISBN 3-631-44332-3.Ferdinand Werner: Das Lutherdenkmal und die Wormser Grünanlagen. In: Die Gartenkunst 24 (2/2012), pp. 223–259.

Category:Monuments and memorials in Germany

Category:1868 establishments in the North German Confederation

Category:Buildings and structures completed in 1868

Category:Cultural depictions of Martin Luther


Luther Monument (Worms)

Prompt: How does Luther Monument (Worms) explain its Literature?

Ludwig Joseph Hundhausen: Das Luthermonument zu Worms im Lichte der Wahrheit. Gedanken und Thatsachen zur Beantwortung der Frage: Kirche oder Protestantismus? Franz Kirchheim, Mainz 1868.Christiane Theiselmann: Das Wormser Lutherdenkmal Ernst Rietschels (1856–1868) im Rahmen der Lutherrezeption des 19. Jahrhunderts. Europäische Hochschulschriften, Frankfurt am Main 1992. ISBN 3-631-44332-3.Ferdinand Werner: Das Lutherdenkmal und die Wormser Grünanlagen. In: Die Gartenkunst 24 (2/2012), pp. 223–259.

Category:Monuments and memorials in Germany

Category:1868 establishments in the North German Confederation

Category:Buildings and structures completed in 1868

Category:Cultural depictions of Martin Luther


Luther Monument (Worms)

Prompt: In Luther Monument (Worms), how is the Literature discussed?

Ludwig Joseph Hundhausen: Das Luthermonument zu Worms im Lichte der Wahrheit. Gedanken und Thatsachen zur Beantwortung der Frage: Kirche oder Protestantismus? Franz Kirchheim, Mainz 1868.Christiane Theiselmann: Das Wormser Lutherdenkmal Ernst Rietschels (1856–1868) im Rahmen der Lutherrezeption des 19. Jahrhunderts. Europäische Hochschulschriften, Frankfurt am Main 1992. ISBN 3-631-44332-3.Ferdinand Werner: Das Lutherdenkmal und die Wormser Grünanlagen. In: Die Gartenkunst 24 (2/2012), pp. 223–259.

Category:Monuments and memorials in Germany

Category:1868 establishments in the North German Confederation

Category:Buildings and structures completed in 1868

Category:Cultural depictions of Martin Luther


Surrender of Lord Cornwallis

Prompt: Focus on Surrender of Lord Cornwallis and explain the abstract.

The Surrender of Lord Cornwallis is an oil painting by John Trumbull. The painting, which was completed in 1820, now hangs in the rotunda of the United States Capitol in Washington, D.C.The painting depicts the surrender of British Lieutenant General Charles, Earl Cornwallis at Yorktown, Virginia, on October 19, 1781, ending the Siege of Yorktown, which virtually guaranteed American independence. Included in the depiction are many leaders of the American troops that took part in the Siege of Yorktown.In October 1781, the successful siege of Yorktown, Virginia, by General Washington in effect ended major fighting in the American Revolution. The American Army and allied forces defeated a British force there under Lord Charles Cornwallis, and on October 17, Cornwallis raised a flag of truce after having suffered not only the American attack but also disease, lack of supplies, inclement weather, and a failed evacuation.

Category:Paintings about the American Revolution

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

File:Self Portrait by John Trumbull circa 1802.jpeg

Charles Cornwallis, 1st Marquess Cornwallis

Category:Cultural depictions of British people

Category:Paintings in the United States Capitol

Jean-Baptiste Donatien de Vimeur, comte de Rochambeau

General George Washington Resigning His Commission

Category:New York (state) in the American Revolution

The Death of General Montgomery in the Attack on Quebec, December 31, 1775

A key prepared by Trumbull identifying the French and American officers in the painting

Southern theater of the American Revolutionary War

Category:Cultural depictions of military officers


Surrender of Lord Cornwallis

Prompt: Explain the abstract of this artwork, Surrender of Lord Cornwallis.

The Surrender of Lord Cornwallis is an oil painting by John Trumbull. The painting, which was completed in 1820, now hangs in the rotunda of the United States Capitol in Washington, D.C.The painting depicts the surrender of British Lieutenant General Charles, Earl Cornwallis at Yorktown, Virginia, on October 19, 1781, ending the Siege of Yorktown, which virtually guaranteed American independence. Included in the depiction are many leaders of the American troops that took part in the Siege of Yorktown.In October 1781, the successful siege of Yorktown, Virginia, by General Washington in effect ended major fighting in the American Revolution. The American Army and allied forces defeated a British force there under Lord Charles Cornwallis, and on October 17, Cornwallis raised a flag of truce after having suffered not only the American attack but also disease, lack of supplies, inclement weather, and a failed evacuation.

Category:Paintings about the American Revolution

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

File:Self Portrait by John Trumbull circa 1802.jpeg

Charles Cornwallis, 1st Marquess Cornwallis

Category:Cultural depictions of British people

Category:Paintings in the United States Capitol

Jean-Baptiste Donatien de Vimeur, comte de Rochambeau

General George Washington Resigning His Commission

Category:New York (state) in the American Revolution

The Death of General Montgomery in the Attack on Quebec, December 31, 1775

A key prepared by Trumbull identifying the French and American officers in the painting

Southern theater of the American Revolutionary War

Category:Cultural depictions of military officers


Surrender of Lord Cornwallis

Prompt: How does Surrender of Lord Cornwallis explain its abstract?

The Surrender of Lord Cornwallis is an oil painting by John Trumbull. The painting, which was completed in 1820, now hangs in the rotunda of the United States Capitol in Washington, D.C.The painting depicts the surrender of British Lieutenant General Charles, Earl Cornwallis at Yorktown, Virginia, on October 19, 1781, ending the Siege of Yorktown, which virtually guaranteed American independence. Included in the depiction are many leaders of the American troops that took part in the Siege of Yorktown.In October 1781, the successful siege of Yorktown, Virginia, by General Washington in effect ended major fighting in the American Revolution. The American Army and allied forces defeated a British force there under Lord Charles Cornwallis, and on October 17, Cornwallis raised a flag of truce after having suffered not only the American attack but also disease, lack of supplies, inclement weather, and a failed evacuation.

Category:Paintings about the American Revolution

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

File:Self Portrait by John Trumbull circa 1802.jpeg

Charles Cornwallis, 1st Marquess Cornwallis

Category:Cultural depictions of British people

Category:Paintings in the United States Capitol

Jean-Baptiste Donatien de Vimeur, comte de Rochambeau

General George Washington Resigning His Commission

Category:New York (state) in the American Revolution

The Death of General Montgomery in the Attack on Quebec, December 31, 1775

A key prepared by Trumbull identifying the French and American officers in the painting

Southern theater of the American Revolutionary War

Category:Cultural depictions of military officers


Surrender of Lord Cornwallis

Prompt: In Surrender of Lord Cornwallis, how is the abstract discussed?

The Surrender of Lord Cornwallis is an oil painting by John Trumbull. The painting, which was completed in 1820, now hangs in the rotunda of the United States Capitol in Washington, D.C.The painting depicts the surrender of British Lieutenant General Charles, Earl Cornwallis at Yorktown, Virginia, on October 19, 1781, ending the Siege of Yorktown, which virtually guaranteed American independence. Included in the depiction are many leaders of the American troops that took part in the Siege of Yorktown.In October 1781, the successful siege of Yorktown, Virginia, by General Washington in effect ended major fighting in the American Revolution. The American Army and allied forces defeated a British force there under Lord Charles Cornwallis, and on October 17, Cornwallis raised a flag of truce after having suffered not only the American attack but also disease, lack of supplies, inclement weather, and a failed evacuation.

Category:Paintings about the American Revolution

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

File:Self Portrait by John Trumbull circa 1802.jpeg

Charles Cornwallis, 1st Marquess Cornwallis

Category:Cultural depictions of British people

Category:Paintings in the United States Capitol

Jean-Baptiste Donatien de Vimeur, comte de Rochambeau

General George Washington Resigning His Commission

Category:New York (state) in the American Revolution

The Death of General Montgomery in the Attack on Quebec, December 31, 1775

A key prepared by Trumbull identifying the French and American officers in the painting

Southern theater of the American Revolutionary War

Category:Cultural depictions of military officers


Surrender of Lord Cornwallis

Prompt: Focus on Surrender of Lord Cornwallis and explain the Commission.

Artist John Trumbull (1756–1843) spent the early part of the American Revolutionary War as a soldier, serving as an aide to both George Washington and Horatio Gates.  After resigning from the army in 1777, he pursued a career as an artist.  In 1785 he began sketching out ideas for a series of large-scale paintings to commemorate the major events of the American Revolution.  After spending a time in England, he returned to New York City in 1789, where he sketched a number of dignitaries whose portraits he intended to use in these paintings.  In 1791 he traveled to Yorktown, Virginia, where he sketched the landscape of the surrender site.Upon his return from Britain after the end of the War of 1812, he promoted this idea to the United States Congress.  On the strength of his application and the successful exhibition of The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775 and The Death of General Montgomery in the Attack on Quebec, December 31, 1775, as well as studies for other proposed paintings, the Congress in 1817 voted to commission four large paintings from him, to be hung in the United States Capitol rotunda.The price was set at $8,000 per painting, with the size and subject matter to be determined by President James Madison.  A size of twelve by eighteen feet (370 cm × 550 cm) was agreed, as was the subject matter for the four paintings: the Declaration of Independence, the Surrender of General Burgoyne, the Surrender of Lord Cornwallis, and General George Washington Resigning His Commission.  Trumbull spent the next eight years executing the commission, completing this painting in 1820.  It was displayed in New York City, Boston, and Baltimore before coming to Washington, D.C., and Trumbull supervised its hanging in the Capitol rotunda in late 1820.  It has remained there since.Trumbull himself cleaned and varnished the painting in 1828, and it has been periodically maintained since.  In 1971, damage from a penny that was thrown hard enough to pierce the canvas was repaired. All of the Rotunda paintings were most recently cleaned in 2008.

Category:Paintings about the American Revolution

File:Self Portrait by John Trumbull circa 1802.jpeg

Charles Cornwallis, 1st Marquess Cornwallis

Category:Cultural depictions of British people

Category:Paintings in the United States Capitol

Jean-Baptiste Donatien de Vimeur, comte de Rochambeau

Category:New York (state) in the American Revolution

A key prepared by Trumbull identifying the French and American officers in the painting

Southern theater of the American Revolutionary War

Category:Cultural depictions of military officers


Surrender of Lord Cornwallis

Prompt: Explain the Commission of this artwork, Surrender of Lord Cornwallis.

Artist John Trumbull (1756–1843) spent the early part of the American Revolutionary War as a soldier, serving as an aide to both George Washington and Horatio Gates.  After resigning from the army in 1777, he pursued a career as an artist.  In 1785 he began sketching out ideas for a series of large-scale paintings to commemorate the major events of the American Revolution.  After spending a time in England, he returned to New York City in 1789, where he sketched a number of dignitaries whose portraits he intended to use in these paintings.  In 1791 he traveled to Yorktown, Virginia, where he sketched the landscape of the surrender site.Upon his return from Britain after the end of the War of 1812, he promoted this idea to the United States Congress.  On the strength of his application and the successful exhibition of The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775 and The Death of General Montgomery in the Attack on Quebec, December 31, 1775, as well as studies for other proposed paintings, the Congress in 1817 voted to commission four large paintings from him, to be hung in the United States Capitol rotunda.The price was set at $8,000 per painting, with the size and subject matter to be determined by President James Madison.  A size of twelve by eighteen feet (370 cm × 550 cm) was agreed, as was the subject matter for the four paintings: the Declaration of Independence, the Surrender of General Burgoyne, the Surrender of Lord Cornwallis, and General George Washington Resigning His Commission.  Trumbull spent the next eight years executing the commission, completing this painting in 1820.  It was displayed in New York City, Boston, and Baltimore before coming to Washington, D.C., and Trumbull supervised its hanging in the Capitol rotunda in late 1820.  It has remained there since.Trumbull himself cleaned and varnished the painting in 1828, and it has been periodically maintained since.  In 1971, damage from a penny that was thrown hard enough to pierce the canvas was repaired. All of the Rotunda paintings were most recently cleaned in 2008.

Category:Paintings about the American Revolution

File:Self Portrait by John Trumbull circa 1802.jpeg

Charles Cornwallis, 1st Marquess Cornwallis

Category:Cultural depictions of British people

Category:Paintings in the United States Capitol

Jean-Baptiste Donatien de Vimeur, comte de Rochambeau

Category:New York (state) in the American Revolution

A key prepared by Trumbull identifying the French and American officers in the painting

Southern theater of the American Revolutionary War

Category:Cultural depictions of military officers


Surrender of Lord Cornwallis

Prompt: How does Surrender of Lord Cornwallis explain its Commission?

Artist John Trumbull (1756–1843) spent the early part of the American Revolutionary War as a soldier, serving as an aide to both George Washington and Horatio Gates.  After resigning from the army in 1777, he pursued a career as an artist.  In 1785 he began sketching out ideas for a series of large-scale paintings to commemorate the major events of the American Revolution.  After spending a time in England, he returned to New York City in 1789, where he sketched a number of dignitaries whose portraits he intended to use in these paintings.  In 1791 he traveled to Yorktown, Virginia, where he sketched the landscape of the surrender site.Upon his return from Britain after the end of the War of 1812, he promoted this idea to the United States Congress.  On the strength of his application and the successful exhibition of The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775 and The Death of General Montgomery in the Attack on Quebec, December 31, 1775, as well as studies for other proposed paintings, the Congress in 1817 voted to commission four large paintings from him, to be hung in the United States Capitol rotunda.The price was set at $8,000 per painting, with the size and subject matter to be determined by President James Madison.  A size of twelve by eighteen feet (370 cm × 550 cm) was agreed, as was the subject matter for the four paintings: the Declaration of Independence, the Surrender of General Burgoyne, the Surrender of Lord Cornwallis, and General George Washington Resigning His Commission.  Trumbull spent the next eight years executing the commission, completing this painting in 1820.  It was displayed in New York City, Boston, and Baltimore before coming to Washington, D.C., and Trumbull supervised its hanging in the Capitol rotunda in late 1820.  It has remained there since.Trumbull himself cleaned and varnished the painting in 1828, and it has been periodically maintained since.  In 1971, damage from a penny that was thrown hard enough to pierce the canvas was repaired. All of the Rotunda paintings were most recently cleaned in 2008.

Category:Paintings about the American Revolution

File:Self Portrait by John Trumbull circa 1802.jpeg

Charles Cornwallis, 1st Marquess Cornwallis

Category:Cultural depictions of British people

Category:Paintings in the United States Capitol

Jean-Baptiste Donatien de Vimeur, comte de Rochambeau

Category:New York (state) in the American Revolution

A key prepared by Trumbull identifying the French and American officers in the painting

Southern theater of the American Revolutionary War

Category:Cultural depictions of military officers


Surrender of Lord Cornwallis

Prompt: In Surrender of Lord Cornwallis, how is the Commission discussed?

Artist John Trumbull (1756–1843) spent the early part of the American Revolutionary War as a soldier, serving as an aide to both George Washington and Horatio Gates.  After resigning from the army in 1777, he pursued a career as an artist.  In 1785 he began sketching out ideas for a series of large-scale paintings to commemorate the major events of the American Revolution.  After spending a time in England, he returned to New York City in 1789, where he sketched a number of dignitaries whose portraits he intended to use in these paintings.  In 1791 he traveled to Yorktown, Virginia, where he sketched the landscape of the surrender site.Upon his return from Britain after the end of the War of 1812, he promoted this idea to the United States Congress.  On the strength of his application and the successful exhibition of The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775 and The Death of General Montgomery in the Attack on Quebec, December 31, 1775, as well as studies for other proposed paintings, the Congress in 1817 voted to commission four large paintings from him, to be hung in the United States Capitol rotunda.The price was set at $8,000 per painting, with the size and subject matter to be determined by President James Madison.  A size of twelve by eighteen feet (370 cm × 550 cm) was agreed, as was the subject matter for the four paintings: the Declaration of Independence, the Surrender of General Burgoyne, the Surrender of Lord Cornwallis, and General George Washington Resigning His Commission.  Trumbull spent the next eight years executing the commission, completing this painting in 1820.  It was displayed in New York City, Boston, and Baltimore before coming to Washington, D.C., and Trumbull supervised its hanging in the Capitol rotunda in late 1820.  It has remained there since.Trumbull himself cleaned and varnished the painting in 1828, and it has been periodically maintained since.  In 1971, damage from a penny that was thrown hard enough to pierce the canvas was repaired. All of the Rotunda paintings were most recently cleaned in 2008.

Category:Paintings about the American Revolution

File:Self Portrait by John Trumbull circa 1802.jpeg

Charles Cornwallis, 1st Marquess Cornwallis

Category:Cultural depictions of British people

Category:Paintings in the United States Capitol

Jean-Baptiste Donatien de Vimeur, comte de Rochambeau

Category:New York (state) in the American Revolution

A key prepared by Trumbull identifying the French and American officers in the painting

Southern theater of the American Revolutionary War

Category:Cultural depictions of military officers


Surrender of Lord Cornwallis

Prompt: Focus on Surrender of Lord Cornwallis and explain the Description.

The subject of this painting is the surrender of the British army at Yorktown, Virginia, in 1781, which ended the last major campaign of the Revolutionary War. The blue sky filled with dark clouds and the broken cannon suggest the battles that led to this event. In early September, entrenched with a force of 7,000 men, Cornwallis had hoped for rescue from the sea, but the British vessels were repelled by a French fleet. Within weeks General Washington had deployed a much larger army, and his artillery bombarded the British positions in early October. After American and French troops overran two British strongholds, Cornwallis surrendered on October 19, 1781.In the center of the scene, American General Benjamin Lincoln appears mounted on a white horse. He extends his right hand toward the sword carried by the surrendering British officer, General Charles O'Hara, who heads the long line of troops that extends into the background. To the left, French officers appear standing and mounted beneath the white banner of the royal Bourbon family. On the right are American officers beneath the Stars and Stripes; among them are the Marquis de Lafayette and Colonel Jonathan Trumbull, the brother of the painter. General George Washington, riding a brown horse, stayed in the background because Cornwallis himself was not present for the surrender. The Comte de Rochambeau is on the left center on a brown horse.

Category:Paintings about the American Revolution

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

File:Self Portrait by John Trumbull circa 1802.jpeg

Charles Cornwallis, 1st Marquess Cornwallis

Category:Cultural depictions of British people

Category:Paintings in the United States Capitol

Jean-Baptiste Donatien de Vimeur, comte de Rochambeau

General George Washington Resigning His Commission

Category:New York (state) in the American Revolution

The Death of General Montgomery in the Attack on Quebec, December 31, 1775

A key prepared by Trumbull identifying the French and American officers in the painting

Southern theater of the American Revolutionary War

Category:Cultural depictions of military officers


Surrender of Lord Cornwallis

Prompt: Explain the Description of this artwork, Surrender of Lord Cornwallis.

The subject of this painting is the surrender of the British army at Yorktown, Virginia, in 1781, which ended the last major campaign of the Revolutionary War. The blue sky filled with dark clouds and the broken cannon suggest the battles that led to this event. In early September, entrenched with a force of 7,000 men, Cornwallis had hoped for rescue from the sea, but the British vessels were repelled by a French fleet. Within weeks General Washington had deployed a much larger army, and his artillery bombarded the British positions in early October. After American and French troops overran two British strongholds, Cornwallis surrendered on October 19, 1781.In the center of the scene, American General Benjamin Lincoln appears mounted on a white horse. He extends his right hand toward the sword carried by the surrendering British officer, General Charles O'Hara, who heads the long line of troops that extends into the background. To the left, French officers appear standing and mounted beneath the white banner of the royal Bourbon family. On the right are American officers beneath the Stars and Stripes; among them are the Marquis de Lafayette and Colonel Jonathan Trumbull, the brother of the painter. General George Washington, riding a brown horse, stayed in the background because Cornwallis himself was not present for the surrender. The Comte de Rochambeau is on the left center on a brown horse.

Category:Paintings about the American Revolution

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

File:Self Portrait by John Trumbull circa 1802.jpeg

Charles Cornwallis, 1st Marquess Cornwallis

Category:Cultural depictions of British people

Category:Paintings in the United States Capitol

Jean-Baptiste Donatien de Vimeur, comte de Rochambeau

General George Washington Resigning His Commission

Category:New York (state) in the American Revolution

The Death of General Montgomery in the Attack on Quebec, December 31, 1775

A key prepared by Trumbull identifying the French and American officers in the painting

Southern theater of the American Revolutionary War

Category:Cultural depictions of military officers


Surrender of Lord Cornwallis

Prompt: How does Surrender of Lord Cornwallis explain its Description?

The subject of this painting is the surrender of the British army at Yorktown, Virginia, in 1781, which ended the last major campaign of the Revolutionary War. The blue sky filled with dark clouds and the broken cannon suggest the battles that led to this event. In early September, entrenched with a force of 7,000 men, Cornwallis had hoped for rescue from the sea, but the British vessels were repelled by a French fleet. Within weeks General Washington had deployed a much larger army, and his artillery bombarded the British positions in early October. After American and French troops overran two British strongholds, Cornwallis surrendered on October 19, 1781.In the center of the scene, American General Benjamin Lincoln appears mounted on a white horse. He extends his right hand toward the sword carried by the surrendering British officer, General Charles O'Hara, who heads the long line of troops that extends into the background. To the left, French officers appear standing and mounted beneath the white banner of the royal Bourbon family. On the right are American officers beneath the Stars and Stripes; among them are the Marquis de Lafayette and Colonel Jonathan Trumbull, the brother of the painter. General George Washington, riding a brown horse, stayed in the background because Cornwallis himself was not present for the surrender. The Comte de Rochambeau is on the left center on a brown horse.

Category:Paintings about the American Revolution

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

File:Self Portrait by John Trumbull circa 1802.jpeg

Charles Cornwallis, 1st Marquess Cornwallis

Category:Cultural depictions of British people

Category:Paintings in the United States Capitol

Jean-Baptiste Donatien de Vimeur, comte de Rochambeau

General George Washington Resigning His Commission

Category:New York (state) in the American Revolution

The Death of General Montgomery in the Attack on Quebec, December 31, 1775

A key prepared by Trumbull identifying the French and American officers in the painting

Southern theater of the American Revolutionary War

Category:Cultural depictions of military officers


Surrender of Lord Cornwallis

Prompt: In Surrender of Lord Cornwallis, how is the Description discussed?

The subject of this painting is the surrender of the British army at Yorktown, Virginia, in 1781, which ended the last major campaign of the Revolutionary War. The blue sky filled with dark clouds and the broken cannon suggest the battles that led to this event. In early September, entrenched with a force of 7,000 men, Cornwallis had hoped for rescue from the sea, but the British vessels were repelled by a French fleet. Within weeks General Washington had deployed a much larger army, and his artillery bombarded the British positions in early October. After American and French troops overran two British strongholds, Cornwallis surrendered on October 19, 1781.In the center of the scene, American General Benjamin Lincoln appears mounted on a white horse. He extends his right hand toward the sword carried by the surrendering British officer, General Charles O'Hara, who heads the long line of troops that extends into the background. To the left, French officers appear standing and mounted beneath the white banner of the royal Bourbon family. On the right are American officers beneath the Stars and Stripes; among them are the Marquis de Lafayette and Colonel Jonathan Trumbull, the brother of the painter. General George Washington, riding a brown horse, stayed in the background because Cornwallis himself was not present for the surrender. The Comte de Rochambeau is on the left center on a brown horse.

Category:Paintings about the American Revolution

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

File:Self Portrait by John Trumbull circa 1802.jpeg

Charles Cornwallis, 1st Marquess Cornwallis

Category:Cultural depictions of British people

Category:Paintings in the United States Capitol

Jean-Baptiste Donatien de Vimeur, comte de Rochambeau

General George Washington Resigning His Commission

Category:New York (state) in the American Revolution

The Death of General Montgomery in the Attack on Quebec, December 31, 1775

A key prepared by Trumbull identifying the French and American officers in the painting

Southern theater of the American Revolutionary War

Category:Cultural depictions of military officers


Lady Writing a Letter with her Maid

Prompt: Focus on Lady Writing a Letter with her Maid and explain the abstract.

Lady Writing a Letter with her Maid (Dutch: Schrijvende vrouw met dienstbode) is a painting by the Dutch artist Johannes Vermeer, completed in 1670–1671 and held in the National Gallery of Ireland, in Dublin, Ireland. The painting shows a standing woman seemingly acting as a messenger between the seated younger lady and her unseen lover.It was famously stolen on 27 April 1974 during a raid on Russborough House, Ireland, and again in 1986 by a gang led by the Dublin crime boss Martin Cahill, although in both cases it was recovered.

Category:Collection of the National Gallery of Ireland

Category:Genre paintings by Johannes Vermeer


Lady Writing a Letter with her Maid

Prompt: Explain the abstract of this artwork, Lady Writing a Letter with her Maid.

Lady Writing a Letter with her Maid (Dutch: Schrijvende vrouw met dienstbode) is a painting by the Dutch artist Johannes Vermeer, completed in 1670–1671 and held in the National Gallery of Ireland, in Dublin, Ireland. The painting shows a standing woman seemingly acting as a messenger between the seated younger lady and her unseen lover.It was famously stolen on 27 April 1974 during a raid on Russborough House, Ireland, and again in 1986 by a gang led by the Dublin crime boss Martin Cahill, although in both cases it was recovered.

Category:Collection of the National Gallery of Ireland

Category:Genre paintings by Johannes Vermeer


Lady Writing a Letter with her Maid

Prompt: How does Lady Writing a Letter with her Maid explain its abstract?

Lady Writing a Letter with her Maid (Dutch: Schrijvende vrouw met dienstbode) is a painting by the Dutch artist Johannes Vermeer, completed in 1670–1671 and held in the National Gallery of Ireland, in Dublin, Ireland. The painting shows a standing woman seemingly acting as a messenger between the seated younger lady and her unseen lover.It was famously stolen on 27 April 1974 during a raid on Russborough House, Ireland, and again in 1986 by a gang led by the Dublin crime boss Martin Cahill, although in both cases it was recovered.

Category:Collection of the National Gallery of Ireland

Category:Genre paintings by Johannes Vermeer