Buhl Altarpiece

Prompt: Focus on Buhl Altarpiece and explain the Description.

Originally a triptych but currently not displayed in that fashion because of a lack of space, the Buhl altarpiece is composed of a central panel, 3.5 m (11 ft) wide and 1.97 m (6 ft 6 in) high, and two lateral panels, 1.75 m (5 ft 9 in) wide and 1.97 m (6 ft 6 in) high. When opened, the altarpiece thus reaches a width of 7 m (23 ft), significantly surpassing the Isenheim Altarpiece (total width 4.57 m (15.0 ft), and the Ghent Altarpiece (total width 5.20 m (17.1 ft).The front side of the left wing shows the Agony in the Garden and the Flagellation of Christ. The front side of the central wing represents the Crucifixion of Jesus with Saint Catherine and Saint Ursula. These two female figures may have been painted last as they are in a more distinctly Proto-Renaissance style than the rest. The front side of the right wing represents the Crowning with thorns and the Bearing of the Cross, all from the Passion of Jesus.The rear side of the left wing shows the Nativity of Jesus and the Assumption of Mary. The rear of the central panel (painted in a different style and in a lesser state of preservation than the rest of the altarpiece) shows the Last Judgment as a doom. The rear of the right panel shows the Annunciation with the Unicorn (almost a carbon copy of the same scene from the Altarpiece of the Dominicans) and the Adoration of the Magi. Remarkably, both the blessed in the depiction of Paradise and the damned in the depiction of Hell in the Last Judgement are almost all clerical people: popes, bishops, monks, nuns. A nun deep in the fire is shown pointing her finger at her tongue; a text (in German) running next to her says "I didn't keep my mouth shut, that's why I'm deep in hell" (Darum, dass ich nit han geswiegen ich tief in der Helle liegen).

St Martin's Church, Colmar#The Isenmann altarpiece

Category:Paintings of the Passion of Jesus

Category:Monuments historiques of Haut-Rhin


Buhl Altarpiece

Prompt: Explain the Description of this artwork, Buhl Altarpiece.

Originally a triptych but currently not displayed in that fashion because of a lack of space, the Buhl altarpiece is composed of a central panel, 3.5 m (11 ft) wide and 1.97 m (6 ft 6 in) high, and two lateral panels, 1.75 m (5 ft 9 in) wide and 1.97 m (6 ft 6 in) high. When opened, the altarpiece thus reaches a width of 7 m (23 ft), significantly surpassing the Isenheim Altarpiece (total width 4.57 m (15.0 ft), and the Ghent Altarpiece (total width 5.20 m (17.1 ft).The front side of the left wing shows the Agony in the Garden and the Flagellation of Christ. The front side of the central wing represents the Crucifixion of Jesus with Saint Catherine and Saint Ursula. These two female figures may have been painted last as they are in a more distinctly Proto-Renaissance style than the rest. The front side of the right wing represents the Crowning with thorns and the Bearing of the Cross, all from the Passion of Jesus.The rear side of the left wing shows the Nativity of Jesus and the Assumption of Mary. The rear of the central panel (painted in a different style and in a lesser state of preservation than the rest of the altarpiece) shows the Last Judgment as a doom. The rear of the right panel shows the Annunciation with the Unicorn (almost a carbon copy of the same scene from the Altarpiece of the Dominicans) and the Adoration of the Magi. Remarkably, both the blessed in the depiction of Paradise and the damned in the depiction of Hell in the Last Judgement are almost all clerical people: popes, bishops, monks, nuns. A nun deep in the fire is shown pointing her finger at her tongue; a text (in German) running next to her says "I didn't keep my mouth shut, that's why I'm deep in hell" (Darum, dass ich nit han geswiegen ich tief in der Helle liegen).

St Martin's Church, Colmar#The Isenmann altarpiece

Category:Paintings of the Passion of Jesus

Category:Monuments historiques of Haut-Rhin


Buhl Altarpiece

Prompt: How does Buhl Altarpiece explain its Description?

Originally a triptych but currently not displayed in that fashion because of a lack of space, the Buhl altarpiece is composed of a central panel, 3.5 m (11 ft) wide and 1.97 m (6 ft 6 in) high, and two lateral panels, 1.75 m (5 ft 9 in) wide and 1.97 m (6 ft 6 in) high. When opened, the altarpiece thus reaches a width of 7 m (23 ft), significantly surpassing the Isenheim Altarpiece (total width 4.57 m (15.0 ft), and the Ghent Altarpiece (total width 5.20 m (17.1 ft).The front side of the left wing shows the Agony in the Garden and the Flagellation of Christ. The front side of the central wing represents the Crucifixion of Jesus with Saint Catherine and Saint Ursula. These two female figures may have been painted last as they are in a more distinctly Proto-Renaissance style than the rest. The front side of the right wing represents the Crowning with thorns and the Bearing of the Cross, all from the Passion of Jesus.The rear side of the left wing shows the Nativity of Jesus and the Assumption of Mary. The rear of the central panel (painted in a different style and in a lesser state of preservation than the rest of the altarpiece) shows the Last Judgment as a doom. The rear of the right panel shows the Annunciation with the Unicorn (almost a carbon copy of the same scene from the Altarpiece of the Dominicans) and the Adoration of the Magi. Remarkably, both the blessed in the depiction of Paradise and the damned in the depiction of Hell in the Last Judgement are almost all clerical people: popes, bishops, monks, nuns. A nun deep in the fire is shown pointing her finger at her tongue; a text (in German) running next to her says "I didn't keep my mouth shut, that's why I'm deep in hell" (Darum, dass ich nit han geswiegen ich tief in der Helle liegen).

St Martin's Church, Colmar#The Isenmann altarpiece

Category:Paintings of the Passion of Jesus

Category:Monuments historiques of Haut-Rhin


Buhl Altarpiece

Prompt: In Buhl Altarpiece, how is the Description discussed?

Originally a triptych but currently not displayed in that fashion because of a lack of space, the Buhl altarpiece is composed of a central panel, 3.5 m (11 ft) wide and 1.97 m (6 ft 6 in) high, and two lateral panels, 1.75 m (5 ft 9 in) wide and 1.97 m (6 ft 6 in) high. When opened, the altarpiece thus reaches a width of 7 m (23 ft), significantly surpassing the Isenheim Altarpiece (total width 4.57 m (15.0 ft), and the Ghent Altarpiece (total width 5.20 m (17.1 ft).The front side of the left wing shows the Agony in the Garden and the Flagellation of Christ. The front side of the central wing represents the Crucifixion of Jesus with Saint Catherine and Saint Ursula. These two female figures may have been painted last as they are in a more distinctly Proto-Renaissance style than the rest. The front side of the right wing represents the Crowning with thorns and the Bearing of the Cross, all from the Passion of Jesus.The rear side of the left wing shows the Nativity of Jesus and the Assumption of Mary. The rear of the central panel (painted in a different style and in a lesser state of preservation than the rest of the altarpiece) shows the Last Judgment as a doom. The rear of the right panel shows the Annunciation with the Unicorn (almost a carbon copy of the same scene from the Altarpiece of the Dominicans) and the Adoration of the Magi. Remarkably, both the blessed in the depiction of Paradise and the damned in the depiction of Hell in the Last Judgement are almost all clerical people: popes, bishops, monks, nuns. A nun deep in the fire is shown pointing her finger at her tongue; a text (in German) running next to her says "I didn't keep my mouth shut, that's why I'm deep in hell" (Darum, dass ich nit han geswiegen ich tief in der Helle liegen).

St Martin's Church, Colmar#The Isenmann altarpiece

Category:Paintings of the Passion of Jesus

Category:Monuments historiques of Haut-Rhin


Parnassus (Mantegna)

Prompt: Focus on Parnassus (Mantegna) and explain the abstract.

The Parnassus is a painting by the Italian Renaissance painter Andrea Mantegna, executed in 1497. It is now in the Musée du Louvre, Paris.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Parnassus (Mantegna)

Prompt: Explain the abstract of this artwork, Parnassus (Mantegna).

The Parnassus is a painting by the Italian Renaissance painter Andrea Mantegna, executed in 1497. It is now in the Musée du Louvre, Paris.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Parnassus (Mantegna)

Prompt: How does Parnassus (Mantegna) explain its abstract?

The Parnassus is a painting by the Italian Renaissance painter Andrea Mantegna, executed in 1497. It is now in the Musée du Louvre, Paris.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Parnassus (Mantegna)

Prompt: In Parnassus (Mantegna), how is the abstract discussed?

The Parnassus is a painting by the Italian Renaissance painter Andrea Mantegna, executed in 1497. It is now in the Musée du Louvre, Paris.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Parnassus (Mantegna)

Prompt: Focus on Parnassus (Mantegna) and explain the History.

The Parnassus was the first picture painted by Mantegna for Isabella d'Este's studiolo (cabinet) in the Ducal Palace of Mantua. The shipping of the paint used by Mantegna for the work is documented in 1497; there is also a letter to Isabella (who was at Ferrara) informing her that once back she would find the work completed.The theme was suggested by the court poet Paride da Ceresara. After Mantegna's death in 1506, the work was partially repainted to update it to the oil technique which had become predominant. The intervention was due perhaps to Lorenzo Leonbruno, and regarded the heads of the Muses, of Apollo, Venus and the landscape.Together with the other paintings in the studiolo, it was given to Cardinal Richelieu by Duke Charles I of Mantua in 1627, entering the royal collections with Louis XIV of France. Later it became part of the Louvre Museum.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Parnassus (Mantegna)

Prompt: Explain the History of this artwork, Parnassus (Mantegna).

The Parnassus was the first picture painted by Mantegna for Isabella d'Este's studiolo (cabinet) in the Ducal Palace of Mantua. The shipping of the paint used by Mantegna for the work is documented in 1497; there is also a letter to Isabella (who was at Ferrara) informing her that once back she would find the work completed.The theme was suggested by the court poet Paride da Ceresara. After Mantegna's death in 1506, the work was partially repainted to update it to the oil technique which had become predominant. The intervention was due perhaps to Lorenzo Leonbruno, and regarded the heads of the Muses, of Apollo, Venus and the landscape.Together with the other paintings in the studiolo, it was given to Cardinal Richelieu by Duke Charles I of Mantua in 1627, entering the royal collections with Louis XIV of France. Later it became part of the Louvre Museum.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Parnassus (Mantegna)

Prompt: How does Parnassus (Mantegna) explain its History?

The Parnassus was the first picture painted by Mantegna for Isabella d'Este's studiolo (cabinet) in the Ducal Palace of Mantua. The shipping of the paint used by Mantegna for the work is documented in 1497; there is also a letter to Isabella (who was at Ferrara) informing her that once back she would find the work completed.The theme was suggested by the court poet Paride da Ceresara. After Mantegna's death in 1506, the work was partially repainted to update it to the oil technique which had become predominant. The intervention was due perhaps to Lorenzo Leonbruno, and regarded the heads of the Muses, of Apollo, Venus and the landscape.Together with the other paintings in the studiolo, it was given to Cardinal Richelieu by Duke Charles I of Mantua in 1627, entering the royal collections with Louis XIV of France. Later it became part of the Louvre Museum.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Parnassus (Mantegna)

Prompt: In Parnassus (Mantegna), how is the History discussed?

The Parnassus was the first picture painted by Mantegna for Isabella d'Este's studiolo (cabinet) in the Ducal Palace of Mantua. The shipping of the paint used by Mantegna for the work is documented in 1497; there is also a letter to Isabella (who was at Ferrara) informing her that once back she would find the work completed.The theme was suggested by the court poet Paride da Ceresara. After Mantegna's death in 1506, the work was partially repainted to update it to the oil technique which had become predominant. The intervention was due perhaps to Lorenzo Leonbruno, and regarded the heads of the Muses, of Apollo, Venus and the landscape.Together with the other paintings in the studiolo, it was given to Cardinal Richelieu by Duke Charles I of Mantua in 1627, entering the royal collections with Louis XIV of France. Later it became part of the Louvre Museum.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Parnassus (Mantegna)

Prompt: Focus on Parnassus (Mantegna) and explain the Description.

The traditional interpretation of the work is based on a late 15th-century poem by Battista Fiera, which identified it as a representation of Mount Parnassus, culminating in the allegory of Isabella  as Venus and Francesco II Gonzaga as Mars.The two gods are shown on a natural arch of rocks in front a symbolic bed; in the background the vegetation has many fruits in the right part (the male one) and only one in the left (female) part, symbolizing the fecundation. The posture of Venus derives from the ancient sculpture. They are accompanied by Anteros (the heavenly love), opposed to the carnal one. The latter is still holding the arch, and has a blowpipe which aims at the genitals of Vulcan, Venus' husband, portrayed in his workshop in a grotto. Behind him is the grape, perhaps a symbol of the drunk's intemperance.In a clearing under the arch is Apollo playing a lyre. Nine Muses are dancing, in an allegory of universal harmony. The touch of Pegasus's hoof (right) can generate the spring which fed the falls of Mount Helicon, which can be seen in the background. The Muses danced traditionally in wood of this mount, and thus the traditional naming of Mount Parnassus is wrong.Near Pegasus is Mercury, with his traditional winged hat, caduceus (the winged staff with entwined snakes), and messenger shoes. He is present to protect the two adulterers.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Parnassus (Mantegna)

Prompt: Explain the Description of this artwork, Parnassus (Mantegna).

The traditional interpretation of the work is based on a late 15th-century poem by Battista Fiera, which identified it as a representation of Mount Parnassus, culminating in the allegory of Isabella  as Venus and Francesco II Gonzaga as Mars.The two gods are shown on a natural arch of rocks in front a symbolic bed; in the background the vegetation has many fruits in the right part (the male one) and only one in the left (female) part, symbolizing the fecundation. The posture of Venus derives from the ancient sculpture. They are accompanied by Anteros (the heavenly love), opposed to the carnal one. The latter is still holding the arch, and has a blowpipe which aims at the genitals of Vulcan, Venus' husband, portrayed in his workshop in a grotto. Behind him is the grape, perhaps a symbol of the drunk's intemperance.In a clearing under the arch is Apollo playing a lyre. Nine Muses are dancing, in an allegory of universal harmony. The touch of Pegasus's hoof (right) can generate the spring which fed the falls of Mount Helicon, which can be seen in the background. The Muses danced traditionally in wood of this mount, and thus the traditional naming of Mount Parnassus is wrong.Near Pegasus is Mercury, with his traditional winged hat, caduceus (the winged staff with entwined snakes), and messenger shoes. He is present to protect the two adulterers.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Parnassus (Mantegna)

Prompt: How does Parnassus (Mantegna) explain its Description?

The traditional interpretation of the work is based on a late 15th-century poem by Battista Fiera, which identified it as a representation of Mount Parnassus, culminating in the allegory of Isabella  as Venus and Francesco II Gonzaga as Mars.The two gods are shown on a natural arch of rocks in front a symbolic bed; in the background the vegetation has many fruits in the right part (the male one) and only one in the left (female) part, symbolizing the fecundation. The posture of Venus derives from the ancient sculpture. They are accompanied by Anteros (the heavenly love), opposed to the carnal one. The latter is still holding the arch, and has a blowpipe which aims at the genitals of Vulcan, Venus' husband, portrayed in his workshop in a grotto. Behind him is the grape, perhaps a symbol of the drunk's intemperance.In a clearing under the arch is Apollo playing a lyre. Nine Muses are dancing, in an allegory of universal harmony. The touch of Pegasus's hoof (right) can generate the spring which fed the falls of Mount Helicon, which can be seen in the background. The Muses danced traditionally in wood of this mount, and thus the traditional naming of Mount Parnassus is wrong.Near Pegasus is Mercury, with his traditional winged hat, caduceus (the winged staff with entwined snakes), and messenger shoes. He is present to protect the two adulterers.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Parnassus (Mantegna)

Prompt: In Parnassus (Mantegna), how is the Description discussed?

The traditional interpretation of the work is based on a late 15th-century poem by Battista Fiera, which identified it as a representation of Mount Parnassus, culminating in the allegory of Isabella  as Venus and Francesco II Gonzaga as Mars.The two gods are shown on a natural arch of rocks in front a symbolic bed; in the background the vegetation has many fruits in the right part (the male one) and only one in the left (female) part, symbolizing the fecundation. The posture of Venus derives from the ancient sculpture. They are accompanied by Anteros (the heavenly love), opposed to the carnal one. The latter is still holding the arch, and has a blowpipe which aims at the genitals of Vulcan, Venus' husband, portrayed in his workshop in a grotto. Behind him is the grape, perhaps a symbol of the drunk's intemperance.In a clearing under the arch is Apollo playing a lyre. Nine Muses are dancing, in an allegory of universal harmony. The touch of Pegasus's hoof (right) can generate the spring which fed the falls of Mount Helicon, which can be seen in the background. The Muses danced traditionally in wood of this mount, and thus the traditional naming of Mount Parnassus is wrong.Near Pegasus is Mercury, with his traditional winged hat, caduceus (the winged staff with entwined snakes), and messenger shoes. He is present to protect the two adulterers.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Parnassus (Mantegna)

Prompt: Focus on Parnassus (Mantegna) and explain the Other paintings of Isabella's Studiolo.

Allegory of Isabella d'Este's Coronation by Lorenzo CostaReign of Comus by Lorenzo CostaTriumph of the Virtues by MantegnaCombat of Love and Chastity by Pietro Perugino

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Parnassus (Mantegna)

Prompt: Explain the Other paintings of Isabella's Studiolo of this artwork, Parnassus (Mantegna).

Allegory of Isabella d'Este's Coronation by Lorenzo CostaReign of Comus by Lorenzo CostaTriumph of the Virtues by MantegnaCombat of Love and Chastity by Pietro Perugino

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Parnassus (Mantegna)

Prompt: How does Parnassus (Mantegna) explain its Other paintings of Isabella's Studiolo?

Allegory of Isabella d'Este's Coronation by Lorenzo CostaReign of Comus by Lorenzo CostaTriumph of the Virtues by MantegnaCombat of Love and Chastity by Pietro Perugino

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Parnassus (Mantegna)

Prompt: In Parnassus (Mantegna), how is the Other paintings of Isabella's Studiolo discussed?

Allegory of Isabella d'Este's Coronation by Lorenzo CostaReign of Comus by Lorenzo CostaTriumph of the Virtues by MantegnaCombat of Love and Chastity by Pietro Perugino

Category:Paintings in the Louvre by Italian artists

Category:Paintings of Vulcan (mythology)


Statue of the Earl Mountbatten, London

Prompt: Focus on Statue of the Earl Mountbatten, London and explain the abstract.

A bronze statue of Admiral of the Fleet Louis Mountbatten, 1st Earl Mountbatten of Burma is located on Mountbatten Green, off Horse Guards Road, Whitehall, London, England. The sculptor was Franta Belsky and the work was cast by the Meridian Bronze Foundry.  The memorial was unveiled on 2 November 1983.

Category:World War II memorials in London

Chief of the Defence Staff (United Kingdom)

Category:Cultural depictions of Lord Mountbatten

File:Statue of the Earl Mountbatten, London.jpg

Category:1983 establishments in the United Kingdom

Supreme Allied Commander in South East Asia

Category:Statues in the City of Westminster

Category:Sculptures of men in the United Kingdom


Statue of the Earl Mountbatten, London

Prompt: Explain the abstract of this artwork, Statue of the Earl Mountbatten, London.

A bronze statue of Admiral of the Fleet Louis Mountbatten, 1st Earl Mountbatten of Burma is located on Mountbatten Green, off Horse Guards Road, Whitehall, London, England. The sculptor was Franta Belsky and the work was cast by the Meridian Bronze Foundry.  The memorial was unveiled on 2 November 1983.

Category:World War II memorials in London

Chief of the Defence Staff (United Kingdom)

Category:Cultural depictions of Lord Mountbatten

File:Statue of the Earl Mountbatten, London.jpg

Category:1983 establishments in the United Kingdom

Supreme Allied Commander in South East Asia

Category:Statues in the City of Westminster

Category:Sculptures of men in the United Kingdom


Statue of the Earl Mountbatten, London

Prompt: How does Statue of the Earl Mountbatten, London explain its abstract?

A bronze statue of Admiral of the Fleet Louis Mountbatten, 1st Earl Mountbatten of Burma is located on Mountbatten Green, off Horse Guards Road, Whitehall, London, England. The sculptor was Franta Belsky and the work was cast by the Meridian Bronze Foundry.  The memorial was unveiled on 2 November 1983.

Category:World War II memorials in London

Chief of the Defence Staff (United Kingdom)

Category:Cultural depictions of Lord Mountbatten

File:Statue of the Earl Mountbatten, London.jpg

Category:1983 establishments in the United Kingdom

Supreme Allied Commander in South East Asia

Category:Statues in the City of Westminster

Category:Sculptures of men in the United Kingdom


Statue of the Earl Mountbatten, London

Prompt: In Statue of the Earl Mountbatten, London, how is the abstract discussed?

A bronze statue of Admiral of the Fleet Louis Mountbatten, 1st Earl Mountbatten of Burma is located on Mountbatten Green, off Horse Guards Road, Whitehall, London, England. The sculptor was Franta Belsky and the work was cast by the Meridian Bronze Foundry.  The memorial was unveiled on 2 November 1983.

Category:World War II memorials in London

Chief of the Defence Staff (United Kingdom)

Category:Cultural depictions of Lord Mountbatten

File:Statue of the Earl Mountbatten, London.jpg

Category:1983 establishments in the United Kingdom

Supreme Allied Commander in South East Asia

Category:Statues in the City of Westminster

Category:Sculptures of men in the United Kingdom


Statue of the Earl Mountbatten, London

Prompt: Focus on Statue of the Earl Mountbatten, London and explain the Description.

The larger than life size statue stands 2.7 m (8 ft 10 in) high and depicts Lord Mountbatten in his admiral's uniform, displaying his honours including the Order of the Garter and the Order of Merit, and holding binoculars in his right hand. Hidden in the left leg of the statue is a jam jar containing coins, press cuttings and details of the sculptor's commission. The inscription on the north side of the plinth gives Lord Mountbatten's retiring rank, title, honours and year of birth and death: "ADMIRAL OF THE FLEET / THE EARL MOUNTBATTEN OF BURMA / KG PC GCB OM GCSI / GCIE GCVO DSO FRS / 1900–1979". The inscription on the west side lists several of the official positions he held during and after the Second World War: Chief of Combined Operations (1941–1943) and Supreme Allied Commander in South East Asia (1943–1946), the last Viceroy of India (1947) and first Governor-General of India (1947–1948), First Sea Lord (1955–1959) and Chief of the Defence Staff (1959–1965).The bronze statue was erected on a small open area on the north side of the junction of Downing Street and Horse Guards Road, to the west of the Garden of 10 and 11 Downing Street.  It is mounted on a Portland stone plinth, on a stone base with four steps, with the standing figure of Mountbatten facing north across Horse Guards Parade towards the Old Admiralty Building.  The green where the statue stands was formerly known as Foreign Office Green but latterly as Mountbatten Green.  Public access to the green was prohibited due to security concerns in 2001.

Louis Mountbatten, 1st Earl Mountbatten of Burma

Category:World War II memorials in London

Chief of the Defence Staff (United Kingdom)

Category:Cultural depictions of Lord Mountbatten

File:Statue of the Earl Mountbatten, London.jpg

Category:1983 establishments in the United Kingdom

Category:Statues in the City of Westminster

Category:Sculptures of men in the United Kingdom


Statue of the Earl Mountbatten, London

Prompt: Explain the Description of this artwork, Statue of the Earl Mountbatten, London.

The larger than life size statue stands 2.7 m (8 ft 10 in) high and depicts Lord Mountbatten in his admiral's uniform, displaying his honours including the Order of the Garter and the Order of Merit, and holding binoculars in his right hand. Hidden in the left leg of the statue is a jam jar containing coins, press cuttings and details of the sculptor's commission. The inscription on the north side of the plinth gives Lord Mountbatten's retiring rank, title, honours and year of birth and death: "ADMIRAL OF THE FLEET / THE EARL MOUNTBATTEN OF BURMA / KG PC GCB OM GCSI / GCIE GCVO DSO FRS / 1900–1979". The inscription on the west side lists several of the official positions he held during and after the Second World War: Chief of Combined Operations (1941–1943) and Supreme Allied Commander in South East Asia (1943–1946), the last Viceroy of India (1947) and first Governor-General of India (1947–1948), First Sea Lord (1955–1959) and Chief of the Defence Staff (1959–1965).The bronze statue was erected on a small open area on the north side of the junction of Downing Street and Horse Guards Road, to the west of the Garden of 10 and 11 Downing Street.  It is mounted on a Portland stone plinth, on a stone base with four steps, with the standing figure of Mountbatten facing north across Horse Guards Parade towards the Old Admiralty Building.  The green where the statue stands was formerly known as Foreign Office Green but latterly as Mountbatten Green.  Public access to the green was prohibited due to security concerns in 2001.

Louis Mountbatten, 1st Earl Mountbatten of Burma

Category:World War II memorials in London

Chief of the Defence Staff (United Kingdom)

Category:Cultural depictions of Lord Mountbatten

File:Statue of the Earl Mountbatten, London.jpg

Category:1983 establishments in the United Kingdom

Category:Statues in the City of Westminster

Category:Sculptures of men in the United Kingdom


Statue of the Earl Mountbatten, London

Prompt: How does Statue of the Earl Mountbatten, London explain its Description?

The larger than life size statue stands 2.7 m (8 ft 10 in) high and depicts Lord Mountbatten in his admiral's uniform, displaying his honours including the Order of the Garter and the Order of Merit, and holding binoculars in his right hand. Hidden in the left leg of the statue is a jam jar containing coins, press cuttings and details of the sculptor's commission. The inscription on the north side of the plinth gives Lord Mountbatten's retiring rank, title, honours and year of birth and death: "ADMIRAL OF THE FLEET / THE EARL MOUNTBATTEN OF BURMA / KG PC GCB OM GCSI / GCIE GCVO DSO FRS / 1900–1979". The inscription on the west side lists several of the official positions he held during and after the Second World War: Chief of Combined Operations (1941–1943) and Supreme Allied Commander in South East Asia (1943–1946), the last Viceroy of India (1947) and first Governor-General of India (1947–1948), First Sea Lord (1955–1959) and Chief of the Defence Staff (1959–1965).The bronze statue was erected on a small open area on the north side of the junction of Downing Street and Horse Guards Road, to the west of the Garden of 10 and 11 Downing Street.  It is mounted on a Portland stone plinth, on a stone base with four steps, with the standing figure of Mountbatten facing north across Horse Guards Parade towards the Old Admiralty Building.  The green where the statue stands was formerly known as Foreign Office Green but latterly as Mountbatten Green.  Public access to the green was prohibited due to security concerns in 2001.

Louis Mountbatten, 1st Earl Mountbatten of Burma

Category:World War II memorials in London

Chief of the Defence Staff (United Kingdom)

Category:Cultural depictions of Lord Mountbatten

File:Statue of the Earl Mountbatten, London.jpg

Category:1983 establishments in the United Kingdom

Category:Statues in the City of Westminster

Category:Sculptures of men in the United Kingdom


Statue of the Earl Mountbatten, London

Prompt: In Statue of the Earl Mountbatten, London, how is the Description discussed?

The larger than life size statue stands 2.7 m (8 ft 10 in) high and depicts Lord Mountbatten in his admiral's uniform, displaying his honours including the Order of the Garter and the Order of Merit, and holding binoculars in his right hand. Hidden in the left leg of the statue is a jam jar containing coins, press cuttings and details of the sculptor's commission. The inscription on the north side of the plinth gives Lord Mountbatten's retiring rank, title, honours and year of birth and death: "ADMIRAL OF THE FLEET / THE EARL MOUNTBATTEN OF BURMA / KG PC GCB OM GCSI / GCIE GCVO DSO FRS / 1900–1979". The inscription on the west side lists several of the official positions he held during and after the Second World War: Chief of Combined Operations (1941–1943) and Supreme Allied Commander in South East Asia (1943–1946), the last Viceroy of India (1947) and first Governor-General of India (1947–1948), First Sea Lord (1955–1959) and Chief of the Defence Staff (1959–1965).The bronze statue was erected on a small open area on the north side of the junction of Downing Street and Horse Guards Road, to the west of the Garden of 10 and 11 Downing Street.  It is mounted on a Portland stone plinth, on a stone base with four steps, with the standing figure of Mountbatten facing north across Horse Guards Parade towards the Old Admiralty Building.  The green where the statue stands was formerly known as Foreign Office Green but latterly as Mountbatten Green.  Public access to the green was prohibited due to security concerns in 2001.

Louis Mountbatten, 1st Earl Mountbatten of Burma

Category:World War II memorials in London

Chief of the Defence Staff (United Kingdom)

Category:Cultural depictions of Lord Mountbatten

File:Statue of the Earl Mountbatten, London.jpg

Category:1983 establishments in the United Kingdom

Category:Statues in the City of Westminster

Category:Sculptures of men in the United Kingdom


Statue of the Earl Mountbatten, London

Prompt: Focus on Statue of the Earl Mountbatten, London and explain the History.

Mountbatten was assassinated in August 1979 by a bomb planted aboard his fishing boat in Mullaghmore, County Sligo, Ireland, by members of the Provisional Irish Republican Army.  Calls for a memorial to Mountbatten began in the Letters pages of The Times in November 1979; in July 1981 a further letter in support of the proposal was published, which was signed by the Prime Minister Margaret Thatcher, leaders of opposition parties and members of the armed forces. The Queen, Elizabeth II, chose the location for the statue and the matter was considered by the government in 1982. The £100,000 for the memorial was raised by public subscription.The statue was put in place in October 1983 and the area remained under heavy guard until the formal ceremony on 2 November. The Times reported that among the 1500 guests were "most of the British royal family and 13 crowned heads from Europe". Before the unveiling, Thatcher delivered a speech praising Mountbatten as "A gallant figure, royal, bold, steeped in tradition yet unconventional, [who] served the land he loved, in peace with tireless devotion, in war with supreme bravery." In unveiling the statue, the Queen referred to Lord Mountbatten as "Uncle Dickie" and said:The vitality and force of his personality combined with an astonishing range of abilities. He could be far-sighted with enormous breadth of vision yet he could also concentrate in the minutest detail of any problem. He was a perfectionist who always mastered his subject.This was followed by a dedication performed by Gerald Ellison, the Bishop of London.The ceremony was accompanied by the band and trumpeters from the Life Guards, the band of the Royal Marines, and a guard of honour from HMS Excellent.  The ceremony was followed by a reception at the Banqueting House, Whitehall.

Louis Mountbatten, 1st Earl Mountbatten of Burma

Category:World War II memorials in London

Chief of the Defence Staff (United Kingdom)

Category:Cultural depictions of Lord Mountbatten

File:Statue of the Earl Mountbatten, London.jpg

Category:1983 establishments in the United Kingdom

Supreme Allied Commander in South East Asia

Category:Statues in the City of Westminster

Category:Sculptures of men in the United Kingdom


Statue of the Earl Mountbatten, London

Prompt: Explain the History of this artwork, Statue of the Earl Mountbatten, London.

Mountbatten was assassinated in August 1979 by a bomb planted aboard his fishing boat in Mullaghmore, County Sligo, Ireland, by members of the Provisional Irish Republican Army.  Calls for a memorial to Mountbatten began in the Letters pages of The Times in November 1979; in July 1981 a further letter in support of the proposal was published, which was signed by the Prime Minister Margaret Thatcher, leaders of opposition parties and members of the armed forces. The Queen, Elizabeth II, chose the location for the statue and the matter was considered by the government in 1982. The £100,000 for the memorial was raised by public subscription.The statue was put in place in October 1983 and the area remained under heavy guard until the formal ceremony on 2 November. The Times reported that among the 1500 guests were "most of the British royal family and 13 crowned heads from Europe". Before the unveiling, Thatcher delivered a speech praising Mountbatten as "A gallant figure, royal, bold, steeped in tradition yet unconventional, [who] served the land he loved, in peace with tireless devotion, in war with supreme bravery." In unveiling the statue, the Queen referred to Lord Mountbatten as "Uncle Dickie" and said:The vitality and force of his personality combined with an astonishing range of abilities. He could be far-sighted with enormous breadth of vision yet he could also concentrate in the minutest detail of any problem. He was a perfectionist who always mastered his subject.This was followed by a dedication performed by Gerald Ellison, the Bishop of London.The ceremony was accompanied by the band and trumpeters from the Life Guards, the band of the Royal Marines, and a guard of honour from HMS Excellent.  The ceremony was followed by a reception at the Banqueting House, Whitehall.

Louis Mountbatten, 1st Earl Mountbatten of Burma

Category:World War II memorials in London

Chief of the Defence Staff (United Kingdom)

Category:Cultural depictions of Lord Mountbatten

File:Statue of the Earl Mountbatten, London.jpg

Category:1983 establishments in the United Kingdom

Supreme Allied Commander in South East Asia

Category:Statues in the City of Westminster

Category:Sculptures of men in the United Kingdom


Statue of the Earl Mountbatten, London

Prompt: How does Statue of the Earl Mountbatten, London explain its History?

Mountbatten was assassinated in August 1979 by a bomb planted aboard his fishing boat in Mullaghmore, County Sligo, Ireland, by members of the Provisional Irish Republican Army.  Calls for a memorial to Mountbatten began in the Letters pages of The Times in November 1979; in July 1981 a further letter in support of the proposal was published, which was signed by the Prime Minister Margaret Thatcher, leaders of opposition parties and members of the armed forces. The Queen, Elizabeth II, chose the location for the statue and the matter was considered by the government in 1982. The £100,000 for the memorial was raised by public subscription.The statue was put in place in October 1983 and the area remained under heavy guard until the formal ceremony on 2 November. The Times reported that among the 1500 guests were "most of the British royal family and 13 crowned heads from Europe". Before the unveiling, Thatcher delivered a speech praising Mountbatten as "A gallant figure, royal, bold, steeped in tradition yet unconventional, [who] served the land he loved, in peace with tireless devotion, in war with supreme bravery." In unveiling the statue, the Queen referred to Lord Mountbatten as "Uncle Dickie" and said:The vitality and force of his personality combined with an astonishing range of abilities. He could be far-sighted with enormous breadth of vision yet he could also concentrate in the minutest detail of any problem. He was a perfectionist who always mastered his subject.This was followed by a dedication performed by Gerald Ellison, the Bishop of London.The ceremony was accompanied by the band and trumpeters from the Life Guards, the band of the Royal Marines, and a guard of honour from HMS Excellent.  The ceremony was followed by a reception at the Banqueting House, Whitehall.

Louis Mountbatten, 1st Earl Mountbatten of Burma

Category:World War II memorials in London

Chief of the Defence Staff (United Kingdom)

Category:Cultural depictions of Lord Mountbatten

File:Statue of the Earl Mountbatten, London.jpg

Category:1983 establishments in the United Kingdom

Supreme Allied Commander in South East Asia

Category:Statues in the City of Westminster

Category:Sculptures of men in the United Kingdom


Statue of the Earl Mountbatten, London

Prompt: In Statue of the Earl Mountbatten, London, how is the History discussed?

Mountbatten was assassinated in August 1979 by a bomb planted aboard his fishing boat in Mullaghmore, County Sligo, Ireland, by members of the Provisional Irish Republican Army.  Calls for a memorial to Mountbatten began in the Letters pages of The Times in November 1979; in July 1981 a further letter in support of the proposal was published, which was signed by the Prime Minister Margaret Thatcher, leaders of opposition parties and members of the armed forces. The Queen, Elizabeth II, chose the location for the statue and the matter was considered by the government in 1982. The £100,000 for the memorial was raised by public subscription.The statue was put in place in October 1983 and the area remained under heavy guard until the formal ceremony on 2 November. The Times reported that among the 1500 guests were "most of the British royal family and 13 crowned heads from Europe". Before the unveiling, Thatcher delivered a speech praising Mountbatten as "A gallant figure, royal, bold, steeped in tradition yet unconventional, [who] served the land he loved, in peace with tireless devotion, in war with supreme bravery." In unveiling the statue, the Queen referred to Lord Mountbatten as "Uncle Dickie" and said:The vitality and force of his personality combined with an astonishing range of abilities. He could be far-sighted with enormous breadth of vision yet he could also concentrate in the minutest detail of any problem. He was a perfectionist who always mastered his subject.This was followed by a dedication performed by Gerald Ellison, the Bishop of London.The ceremony was accompanied by the band and trumpeters from the Life Guards, the band of the Royal Marines, and a guard of honour from HMS Excellent.  The ceremony was followed by a reception at the Banqueting House, Whitehall.

Louis Mountbatten, 1st Earl Mountbatten of Burma

Category:World War II memorials in London

Chief of the Defence Staff (United Kingdom)

Category:Cultural depictions of Lord Mountbatten

File:Statue of the Earl Mountbatten, London.jpg

Category:1983 establishments in the United Kingdom

Supreme Allied Commander in South East Asia

Category:Statues in the City of Westminster

Category:Sculptures of men in the United Kingdom


St. Jerome in the Wilderness (Dürer)

Prompt: Focus on St. Jerome in the Wilderness (Dürer) and explain the abstract.

St. Jerome in the Wilderness is a double-sided oil painting on panel by the German Renaissance artist Albrecht Dürer, executed around 1496, now in the National Gallery in London, where both sides are displayed.

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


St. Jerome in the Wilderness (Dürer)

Prompt: Explain the abstract of this artwork, St. Jerome in the Wilderness (Dürer).

St. Jerome in the Wilderness is a double-sided oil painting on panel by the German Renaissance artist Albrecht Dürer, executed around 1496, now in the National Gallery in London, where both sides are displayed.

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


St. Jerome in the Wilderness (Dürer)

Prompt: How does St. Jerome in the Wilderness (Dürer) explain its abstract?

St. Jerome in the Wilderness is a double-sided oil painting on panel by the German Renaissance artist Albrecht Dürer, executed around 1496, now in the National Gallery in London, where both sides are displayed.

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


St. Jerome in the Wilderness (Dürer)

Prompt: In St. Jerome in the Wilderness (Dürer), how is the abstract discussed?

St. Jerome in the Wilderness is a double-sided oil painting on panel by the German Renaissance artist Albrecht Dürer, executed around 1496, now in the National Gallery in London, where both sides are displayed.

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


St. Jerome in the Wilderness (Dürer)

Prompt: Focus on St. Jerome in the Wilderness (Dürer) and explain the History.

The work was attributed to Dürer in 1957, based on the resemblance between the lion and a similar animal on a membrane drawing from the artist's second trip to Venice, now at the Hamburger Kunsthalle. The lion was almost surely drawn from St. Mark's Lion depictions in the city.The painting was previously in the Fitzwilliam Museum of Cambridge, and was later bought by the London museum.St. Jerome was a common subject of art at the time. Dürer for this work was probably inspired by similar depictions by Giovanni Bellini, or other artists influenced by Andrea Mantegna.

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


St. Jerome in the Wilderness (Dürer)

Prompt: Explain the History of this artwork, St. Jerome in the Wilderness (Dürer).

The work was attributed to Dürer in 1957, based on the resemblance between the lion and a similar animal on a membrane drawing from the artist's second trip to Venice, now at the Hamburger Kunsthalle. The lion was almost surely drawn from St. Mark's Lion depictions in the city.The painting was previously in the Fitzwilliam Museum of Cambridge, and was later bought by the London museum.St. Jerome was a common subject of art at the time. Dürer for this work was probably inspired by similar depictions by Giovanni Bellini, or other artists influenced by Andrea Mantegna.

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


St. Jerome in the Wilderness (Dürer)

Prompt: How does St. Jerome in the Wilderness (Dürer) explain its History?

The work was attributed to Dürer in 1957, based on the resemblance between the lion and a similar animal on a membrane drawing from the artist's second trip to Venice, now at the Hamburger Kunsthalle. The lion was almost surely drawn from St. Mark's Lion depictions in the city.The painting was previously in the Fitzwilliam Museum of Cambridge, and was later bought by the London museum.St. Jerome was a common subject of art at the time. Dürer for this work was probably inspired by similar depictions by Giovanni Bellini, or other artists influenced by Andrea Mantegna.

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


St. Jerome in the Wilderness (Dürer)

Prompt: In St. Jerome in the Wilderness (Dürer), how is the History discussed?

The work was attributed to Dürer in 1957, based on the resemblance between the lion and a similar animal on a membrane drawing from the artist's second trip to Venice, now at the Hamburger Kunsthalle. The lion was almost surely drawn from St. Mark's Lion depictions in the city.The painting was previously in the Fitzwilliam Museum of Cambridge, and was later bought by the London museum.St. Jerome was a common subject of art at the time. Dürer for this work was probably inspired by similar depictions by Giovanni Bellini, or other artists influenced by Andrea Mantegna.

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


St. Jerome in the Wilderness (Dürer)

Prompt: Focus on St. Jerome in the Wilderness (Dürer) and explain the Description.

Jerome is portrayed during his hermitage, surrounded by all the symbols traditionally attributed to him: the tamed lion, the hat and the cardinal garments on the ground (a symbol of rejection of earthly honors), the book (Jerome was a translator of the Vulgate), the stone he used to hit himself, and the crucifix for the prayers.The depiction of nature is typical of Northern European art, with numerous details such as the small birds, the white butterfly in the lower part, as well as the fine rendering of the trunk's bark or the depiction of grass spear by spear. The sky in the background is similar to Dürer's watercolor of the Pool in the Wood, now in the British Museum.

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


St. Jerome in the Wilderness (Dürer)

Prompt: Explain the Description of this artwork, St. Jerome in the Wilderness (Dürer).

Jerome is portrayed during his hermitage, surrounded by all the symbols traditionally attributed to him: the tamed lion, the hat and the cardinal garments on the ground (a symbol of rejection of earthly honors), the book (Jerome was a translator of the Vulgate), the stone he used to hit himself, and the crucifix for the prayers.The depiction of nature is typical of Northern European art, with numerous details such as the small birds, the white butterfly in the lower part, as well as the fine rendering of the trunk's bark or the depiction of grass spear by spear. The sky in the background is similar to Dürer's watercolor of the Pool in the Wood, now in the British Museum.

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


St. Jerome in the Wilderness (Dürer)

Prompt: How does St. Jerome in the Wilderness (Dürer) explain its Description?

Jerome is portrayed during his hermitage, surrounded by all the symbols traditionally attributed to him: the tamed lion, the hat and the cardinal garments on the ground (a symbol of rejection of earthly honors), the book (Jerome was a translator of the Vulgate), the stone he used to hit himself, and the crucifix for the prayers.The depiction of nature is typical of Northern European art, with numerous details such as the small birds, the white butterfly in the lower part, as well as the fine rendering of the trunk's bark or the depiction of grass spear by spear. The sky in the background is similar to Dürer's watercolor of the Pool in the Wood, now in the British Museum.

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


St. Jerome in the Wilderness (Dürer)

Prompt: In St. Jerome in the Wilderness (Dürer), how is the Description discussed?

Jerome is portrayed during his hermitage, surrounded by all the symbols traditionally attributed to him: the tamed lion, the hat and the cardinal garments on the ground (a symbol of rejection of earthly honors), the book (Jerome was a translator of the Vulgate), the stone he used to hit himself, and the crucifix for the prayers.The depiction of nature is typical of Northern European art, with numerous details such as the small birds, the white butterfly in the lower part, as well as the fine rendering of the trunk's bark or the depiction of grass spear by spear. The sky in the background is similar to Dürer's watercolor of the Pool in the Wood, now in the British Museum.

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


St. Jerome in the Wilderness (Dürer)

Prompt: Focus on St. Jerome in the Wilderness (Dürer) and explain the Back panel of the painting.

On the reverse of this painting is an image of what appears to be a meteor/meteorite or comet. Dürer's inspiration may have been the depictions of comets in the Nuremberg Chronicle of 1493. However, those woodcuts are highly stylized, and are not intended to show historical comets, whereas Dürer's image has the feel of an actual observation, as does the blazing star in Dürer's enigmatic engraving Melencolia I, published in 1514.If Dürer's images do represent actual celestial objects, then there are three possible candidates. The first is the Comet of 1491. Dr Sten Odenwald said that it "allegedly came to within 0.0094 AU on 1491 Feb. 20.0 TT, but the orbit of this comet is very uncertain"; NASA's website agrees with Odenwald's comment on the orbit.  The second is the Ensisheim meteorite. This was suggested by Ursula B Marvin ('The meteorite of Ensisheim – 1492 to 1992',(1992)), in relation to Melencolia I. This object fell in Alsace on 7 November 1492. The third is the comet of 1493, mentioned in the chronological section of Sir David Brewster's The Edinburgh Encyclopædia, which said it was: "seen before and after passing its meridian."

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


St. Jerome in the Wilderness (Dürer)

Prompt: Explain the Back panel of the painting of this artwork, St. Jerome in the Wilderness (Dürer).

On the reverse of this painting is an image of what appears to be a meteor/meteorite or comet. Dürer's inspiration may have been the depictions of comets in the Nuremberg Chronicle of 1493. However, those woodcuts are highly stylized, and are not intended to show historical comets, whereas Dürer's image has the feel of an actual observation, as does the blazing star in Dürer's enigmatic engraving Melencolia I, published in 1514.If Dürer's images do represent actual celestial objects, then there are three possible candidates. The first is the Comet of 1491. Dr Sten Odenwald said that it "allegedly came to within 0.0094 AU on 1491 Feb. 20.0 TT, but the orbit of this comet is very uncertain"; NASA's website agrees with Odenwald's comment on the orbit.  The second is the Ensisheim meteorite. This was suggested by Ursula B Marvin ('The meteorite of Ensisheim – 1492 to 1992',(1992)), in relation to Melencolia I. This object fell in Alsace on 7 November 1492. The third is the comet of 1493, mentioned in the chronological section of Sir David Brewster's The Edinburgh Encyclopædia, which said it was: "seen before and after passing its meridian."

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


St. Jerome in the Wilderness (Dürer)

Prompt: How does St. Jerome in the Wilderness (Dürer) explain its Back panel of the painting?

On the reverse of this painting is an image of what appears to be a meteor/meteorite or comet. Dürer's inspiration may have been the depictions of comets in the Nuremberg Chronicle of 1493. However, those woodcuts are highly stylized, and are not intended to show historical comets, whereas Dürer's image has the feel of an actual observation, as does the blazing star in Dürer's enigmatic engraving Melencolia I, published in 1514.If Dürer's images do represent actual celestial objects, then there are three possible candidates. The first is the Comet of 1491. Dr Sten Odenwald said that it "allegedly came to within 0.0094 AU on 1491 Feb. 20.0 TT, but the orbit of this comet is very uncertain"; NASA's website agrees with Odenwald's comment on the orbit.  The second is the Ensisheim meteorite. This was suggested by Ursula B Marvin ('The meteorite of Ensisheim – 1492 to 1992',(1992)), in relation to Melencolia I. This object fell in Alsace on 7 November 1492. The third is the comet of 1493, mentioned in the chronological section of Sir David Brewster's The Edinburgh Encyclopædia, which said it was: "seen before and after passing its meridian."

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


St. Jerome in the Wilderness (Dürer)

Prompt: In St. Jerome in the Wilderness (Dürer), how is the Back panel of the painting discussed?

On the reverse of this painting is an image of what appears to be a meteor/meteorite or comet. Dürer's inspiration may have been the depictions of comets in the Nuremberg Chronicle of 1493. However, those woodcuts are highly stylized, and are not intended to show historical comets, whereas Dürer's image has the feel of an actual observation, as does the blazing star in Dürer's enigmatic engraving Melencolia I, published in 1514.If Dürer's images do represent actual celestial objects, then there are three possible candidates. The first is the Comet of 1491. Dr Sten Odenwald said that it "allegedly came to within 0.0094 AU on 1491 Feb. 20.0 TT, but the orbit of this comet is very uncertain"; NASA's website agrees with Odenwald's comment on the orbit.  The second is the Ensisheim meteorite. This was suggested by Ursula B Marvin ('The meteorite of Ensisheim – 1492 to 1992',(1992)), in relation to Melencolia I. This object fell in Alsace on 7 November 1492. The third is the comet of 1493, mentioned in the chronological section of Sir David Brewster's The Edinburgh Encyclopædia, which said it was: "seen before and after passing its meridian."

Category:Paintings in the National Gallery, London

File:Albrecht durer heavenly body in the night sky.jpg


Prompt: Focus on A Distinguished Member of the Humane Society and explain the abstract.

A Distinguished Member of the Humane Society is an 1831 oil on canvas work by English painter Sir Edwin Henry Landseer depicting a Newfoundland dog. These dogs are recognised in Europe as a breed in their own right, the Landseer E.C.T. named after the painter. The original was damaged in a flood whilst on loan to the Tate Gallery in 1928, and was returned to public view for the first time in 50 years after it was restored in 2009.

Category:Paintings by Edwin Henry Landseer

Category:Paintings in the Tate galleries


Prompt: Explain the abstract of this artwork, A Distinguished Member of the Humane Society.

A Distinguished Member of the Humane Society is an 1831 oil on canvas work by English painter Sir Edwin Henry Landseer depicting a Newfoundland dog. These dogs are recognised in Europe as a breed in their own right, the Landseer E.C.T. named after the painter. The original was damaged in a flood whilst on loan to the Tate Gallery in 1928, and was returned to public view for the first time in 50 years after it was restored in 2009.

Category:Paintings by Edwin Henry Landseer

Category:Paintings in the Tate galleries


Prompt: How does A Distinguished Member of the Humane Society explain its abstract?

A Distinguished Member of the Humane Society is an 1831 oil on canvas work by English painter Sir Edwin Henry Landseer depicting a Newfoundland dog. These dogs are recognised in Europe as a breed in their own right, the Landseer E.C.T. named after the painter. The original was damaged in a flood whilst on loan to the Tate Gallery in 1928, and was returned to public view for the first time in 50 years after it was restored in 2009.

Category:Paintings by Edwin Henry Landseer

Category:Paintings in the Tate galleries


Prompt: In A Distinguished Member of the Humane Society, how is the abstract discussed?

A Distinguished Member of the Humane Society is an 1831 oil on canvas work by English painter Sir Edwin Henry Landseer depicting a Newfoundland dog. These dogs are recognised in Europe as a breed in their own right, the Landseer E.C.T. named after the painter. The original was damaged in a flood whilst on loan to the Tate Gallery in 1928, and was returned to public view for the first time in 50 years after it was restored in 2009.

Category:Paintings by Edwin Henry Landseer

Category:Paintings in the Tate galleries


Prompt: Focus on A Distinguished Member of the Humane Society and explain the Background.

The dog in the painting is meant to be "Bob", a dog that was found in a shipwreck off the coast of England. The dog found his way to the London waterfront where he became known for saving people from drowning, a total of twenty–three times over the course of fourteen years. For this, he was made a distinguished member of the Royal Humane Society, granting him a medal and access to food.The painting was bequeathed to the Tate Collection by Newman Smith in 1887. The painting was damaged in a flood at the London Tate Gallery in 1928, which required extensive restoration work which was funded by the Newfoundland Dog Club of America. Following the restoration work which was coordinated by Ron Pemberton, the painting went on display at the Philadelphia Museum of Art from 2002 to 2005. The painting went on loan to The Kennel Club in 2009 in order to form part of the Pets & Prizewinners exhibition at the Kennel Club Art Gallery in London. Prior to this display, it had been unseen in the UK for over fifty years. The coloration of the breed as featured in the painting has become known as a "Landseer".A 19th century copy of the painting by George Cole was sold by auctioneers Bonhams for £7,200 in March 2007.

Category:Paintings by Edwin Henry Landseer

Category:Paintings in the Tate galleries


Prompt: Explain the Background of this artwork, A Distinguished Member of the Humane Society.

The dog in the painting is meant to be "Bob", a dog that was found in a shipwreck off the coast of England. The dog found his way to the London waterfront where he became known for saving people from drowning, a total of twenty–three times over the course of fourteen years. For this, he was made a distinguished member of the Royal Humane Society, granting him a medal and access to food.The painting was bequeathed to the Tate Collection by Newman Smith in 1887. The painting was damaged in a flood at the London Tate Gallery in 1928, which required extensive restoration work which was funded by the Newfoundland Dog Club of America. Following the restoration work which was coordinated by Ron Pemberton, the painting went on display at the Philadelphia Museum of Art from 2002 to 2005. The painting went on loan to The Kennel Club in 2009 in order to form part of the Pets & Prizewinners exhibition at the Kennel Club Art Gallery in London. Prior to this display, it had been unseen in the UK for over fifty years. The coloration of the breed as featured in the painting has become known as a "Landseer".A 19th century copy of the painting by George Cole was sold by auctioneers Bonhams for £7,200 in March 2007.

Category:Paintings by Edwin Henry Landseer

Category:Paintings in the Tate galleries


Prompt: How does A Distinguished Member of the Humane Society explain its Background?

The dog in the painting is meant to be "Bob", a dog that was found in a shipwreck off the coast of England. The dog found his way to the London waterfront where he became known for saving people from drowning, a total of twenty–three times over the course of fourteen years. For this, he was made a distinguished member of the Royal Humane Society, granting him a medal and access to food.The painting was bequeathed to the Tate Collection by Newman Smith in 1887. The painting was damaged in a flood at the London Tate Gallery in 1928, which required extensive restoration work which was funded by the Newfoundland Dog Club of America. Following the restoration work which was coordinated by Ron Pemberton, the painting went on display at the Philadelphia Museum of Art from 2002 to 2005. The painting went on loan to The Kennel Club in 2009 in order to form part of the Pets & Prizewinners exhibition at the Kennel Club Art Gallery in London. Prior to this display, it had been unseen in the UK for over fifty years. The coloration of the breed as featured in the painting has become known as a "Landseer".A 19th century copy of the painting by George Cole was sold by auctioneers Bonhams for £7,200 in March 2007.

Category:Paintings by Edwin Henry Landseer

Category:Paintings in the Tate galleries


Prompt: In A Distinguished Member of the Humane Society, how is the Background discussed?

The dog in the painting is meant to be "Bob", a dog that was found in a shipwreck off the coast of England. The dog found his way to the London waterfront where he became known for saving people from drowning, a total of twenty–three times over the course of fourteen years. For this, he was made a distinguished member of the Royal Humane Society, granting him a medal and access to food.The painting was bequeathed to the Tate Collection by Newman Smith in 1887. The painting was damaged in a flood at the London Tate Gallery in 1928, which required extensive restoration work which was funded by the Newfoundland Dog Club of America. Following the restoration work which was coordinated by Ron Pemberton, the painting went on display at the Philadelphia Museum of Art from 2002 to 2005. The painting went on loan to The Kennel Club in 2009 in order to form part of the Pets & Prizewinners exhibition at the Kennel Club Art Gallery in London. Prior to this display, it had been unseen in the UK for over fifty years. The coloration of the breed as featured in the painting has become known as a "Landseer".A 19th century copy of the painting by George Cole was sold by auctioneers Bonhams for £7,200 in March 2007.

Category:Paintings by Edwin Henry Landseer

Category:Paintings in the Tate galleries


Prompt: Focus on A Distinguished Member of the Humane Society and explain the Aesthetics.

The dog is painted against a threatening dull sky, in order to highlight the dog himself with the darkened markings on his head standing out. The dog reclines on a quayside, while water ripples against the sea-wall. The shadow of the dog is cast on his own flank. The painting was described by The Art Journal as being "one of the best and most interesting publications of the year", and "Mr Thomas Landseer's first great effort in this department of the art."

Category:Paintings by Edwin Henry Landseer

Category:Paintings in the Tate galleries


Prompt: Explain the Aesthetics of this artwork, A Distinguished Member of the Humane Society.

The dog is painted against a threatening dull sky, in order to highlight the dog himself with the darkened markings on his head standing out. The dog reclines on a quayside, while water ripples against the sea-wall. The shadow of the dog is cast on his own flank. The painting was described by The Art Journal as being "one of the best and most interesting publications of the year", and "Mr Thomas Landseer's first great effort in this department of the art."

Category:Paintings by Edwin Henry Landseer

Category:Paintings in the Tate galleries


Prompt: How does A Distinguished Member of the Humane Society explain its Aesthetics?

The dog is painted against a threatening dull sky, in order to highlight the dog himself with the darkened markings on his head standing out. The dog reclines on a quayside, while water ripples against the sea-wall. The shadow of the dog is cast on his own flank. The painting was described by The Art Journal as being "one of the best and most interesting publications of the year", and "Mr Thomas Landseer's first great effort in this department of the art."

Category:Paintings by Edwin Henry Landseer

Category:Paintings in the Tate galleries


Prompt: In A Distinguished Member of the Humane Society, how is the Aesthetics discussed?

The dog is painted against a threatening dull sky, in order to highlight the dog himself with the darkened markings on his head standing out. The dog reclines on a quayside, while water ripples against the sea-wall. The shadow of the dog is cast on his own flank. The painting was described by The Art Journal as being "one of the best and most interesting publications of the year", and "Mr Thomas Landseer's first great effort in this department of the art."

Category:Paintings by Edwin Henry Landseer

Category:Paintings in the Tate galleries


Young Abe Lincoln

Prompt: Focus on Young Abe Lincoln and explain the abstract.

Young Abe Lincoln, is a 1962 public artwork by American artist David K. Rubins, located outside of the government center near the Indiana State House, in Indianapolis, Indiana, US. This bronze sculpture is a depiction of a young Abraham Lincoln, an Abraham Lincoln that spent the majority of his formative years in Indiana.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: Explain the abstract of this artwork, Young Abe Lincoln.

Young Abe Lincoln, is a 1962 public artwork by American artist David K. Rubins, located outside of the government center near the Indiana State House, in Indianapolis, Indiana, US. This bronze sculpture is a depiction of a young Abraham Lincoln, an Abraham Lincoln that spent the majority of his formative years in Indiana.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: How does Young Abe Lincoln explain its abstract?

Young Abe Lincoln, is a 1962 public artwork by American artist David K. Rubins, located outside of the government center near the Indiana State House, in Indianapolis, Indiana, US. This bronze sculpture is a depiction of a young Abraham Lincoln, an Abraham Lincoln that spent the majority of his formative years in Indiana.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: In Young Abe Lincoln, how is the abstract discussed?

Young Abe Lincoln, is a 1962 public artwork by American artist David K. Rubins, located outside of the government center near the Indiana State House, in Indianapolis, Indiana, US. This bronze sculpture is a depiction of a young Abraham Lincoln, an Abraham Lincoln that spent the majority of his formative years in Indiana.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: Focus on Young Abe Lincoln and explain the Description.

Young Abe Lincoln is an oversized, rough style  bronze sculpture of an adolescent Abraham Lincoln.  He wears a shirt, pants raised above the ankle and is barefoot.  His left hand holds a book with the index finger holding his place.   The sculpture sits outside of the Indiana Government Center in Indianapolis, which is adjacent to the Indiana Statehouse. The sculpture measures 108 inches in height by 30 inches in width by 38 1/2 in depth and sits upon a red granite tripartite pedestal that measures 74 inches in height by 82 inches in width by 92 inches in depth.  It weighs over 1,500 pounds.  A foundry mark can be seen on the front of the pedestal MODERN/ART/FDRY/N.Y. The artist signature (D.K. Rubins) and copyright date (1962) can be seen on the rear, proper right side base of the sculpture.Based on a forty six inch plaster mold, a three-dimensional pantograph was used to create a rough, hollow framework of the full-size model of the sculpture from wood. The surface layer of this framework was coated with a layer of oil-base non-hardening clay called plastelene and then the detail work of the sculpture was done by hand.A plaster mold was placed over the finished clay framework and allowed to dry. The mold was then removed, creating a positive plaster cast of the framework.  This cast is a replica of the clay covered framework.The lost-wax casting method was then used to create the actual bronze sculpture.  This process took over five months to complete.The thoughts that concerned me most in making this statue were the necessities of representing a vital energy, lean physical strength, and a tree-like growth suggestive of the strong roots of character that were growing and manifest as early as his Indiana years. In the rather knotty and active forms of the body, I have tried to express that, as well as the rough warmth of his frontier humanity and the ungainliness of his bony frame.In the simple but rough-surfaced pedestal, and in the quiet shadowed, thoughtful head, I wanted to suggest the very simple, classic character of his mind - as well as the loneliness and tragedy of his life.In the hair, I tried for boyishness and humor. I felt it unimportant to invent a purely imaginary portrait of how Lincoln might have looked at twenty-one years. Our knowledge of his appearance, on which the popular symbol of Lincoln is based, is from photographs taken after his fortieth year; my face, therefore, is a compromise between the unknown Indiana youth and the pre-presidential Illinois lawyer.The true look of Lincoln during his Indiana years is as unimportant as  the historical accuracy of his clothing. In favor of representing his character and his contemporary significance to the best advantage, I have subordinated every literal element except the book. In the light of Lincoln's whole life, the axe is unimportant as the book.The placement of the figure was chosen for two reasons: I felt that Lincoln should be placed back among the trees on the plaza, since the forest was his Indiana experience; and it would be difficult to compete in scale with the open plaza and building were the figure to be placed in the open.  Too large a figure in sculpture produces an inhuman and unreal effect.In 1992, Save Outdoor Sculpture! surveyed this piece and found it to be well maintained.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: Explain the Description of this artwork, Young Abe Lincoln.

Young Abe Lincoln is an oversized, rough style  bronze sculpture of an adolescent Abraham Lincoln.  He wears a shirt, pants raised above the ankle and is barefoot.  His left hand holds a book with the index finger holding his place.   The sculpture sits outside of the Indiana Government Center in Indianapolis, which is adjacent to the Indiana Statehouse. The sculpture measures 108 inches in height by 30 inches in width by 38 1/2 in depth and sits upon a red granite tripartite pedestal that measures 74 inches in height by 82 inches in width by 92 inches in depth.  It weighs over 1,500 pounds.  A foundry mark can be seen on the front of the pedestal MODERN/ART/FDRY/N.Y. The artist signature (D.K. Rubins) and copyright date (1962) can be seen on the rear, proper right side base of the sculpture.Based on a forty six inch plaster mold, a three-dimensional pantograph was used to create a rough, hollow framework of the full-size model of the sculpture from wood. The surface layer of this framework was coated with a layer of oil-base non-hardening clay called plastelene and then the detail work of the sculpture was done by hand.A plaster mold was placed over the finished clay framework and allowed to dry. The mold was then removed, creating a positive plaster cast of the framework.  This cast is a replica of the clay covered framework.The lost-wax casting method was then used to create the actual bronze sculpture.  This process took over five months to complete.The thoughts that concerned me most in making this statue were the necessities of representing a vital energy, lean physical strength, and a tree-like growth suggestive of the strong roots of character that were growing and manifest as early as his Indiana years. In the rather knotty and active forms of the body, I have tried to express that, as well as the rough warmth of his frontier humanity and the ungainliness of his bony frame.In the simple but rough-surfaced pedestal, and in the quiet shadowed, thoughtful head, I wanted to suggest the very simple, classic character of his mind - as well as the loneliness and tragedy of his life.In the hair, I tried for boyishness and humor. I felt it unimportant to invent a purely imaginary portrait of how Lincoln might have looked at twenty-one years. Our knowledge of his appearance, on which the popular symbol of Lincoln is based, is from photographs taken after his fortieth year; my face, therefore, is a compromise between the unknown Indiana youth and the pre-presidential Illinois lawyer.The true look of Lincoln during his Indiana years is as unimportant as  the historical accuracy of his clothing. In favor of representing his character and his contemporary significance to the best advantage, I have subordinated every literal element except the book. In the light of Lincoln's whole life, the axe is unimportant as the book.The placement of the figure was chosen for two reasons: I felt that Lincoln should be placed back among the trees on the plaza, since the forest was his Indiana experience; and it would be difficult to compete in scale with the open plaza and building were the figure to be placed in the open.  Too large a figure in sculpture produces an inhuman and unreal effect.In 1992, Save Outdoor Sculpture! surveyed this piece and found it to be well maintained.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: How does Young Abe Lincoln explain its Description?

Young Abe Lincoln is an oversized, rough style  bronze sculpture of an adolescent Abraham Lincoln.  He wears a shirt, pants raised above the ankle and is barefoot.  His left hand holds a book with the index finger holding his place.   The sculpture sits outside of the Indiana Government Center in Indianapolis, which is adjacent to the Indiana Statehouse. The sculpture measures 108 inches in height by 30 inches in width by 38 1/2 in depth and sits upon a red granite tripartite pedestal that measures 74 inches in height by 82 inches in width by 92 inches in depth.  It weighs over 1,500 pounds.  A foundry mark can be seen on the front of the pedestal MODERN/ART/FDRY/N.Y. The artist signature (D.K. Rubins) and copyright date (1962) can be seen on the rear, proper right side base of the sculpture.Based on a forty six inch plaster mold, a three-dimensional pantograph was used to create a rough, hollow framework of the full-size model of the sculpture from wood. The surface layer of this framework was coated with a layer of oil-base non-hardening clay called plastelene and then the detail work of the sculpture was done by hand.A plaster mold was placed over the finished clay framework and allowed to dry. The mold was then removed, creating a positive plaster cast of the framework.  This cast is a replica of the clay covered framework.The lost-wax casting method was then used to create the actual bronze sculpture.  This process took over five months to complete.The thoughts that concerned me most in making this statue were the necessities of representing a vital energy, lean physical strength, and a tree-like growth suggestive of the strong roots of character that were growing and manifest as early as his Indiana years. In the rather knotty and active forms of the body, I have tried to express that, as well as the rough warmth of his frontier humanity and the ungainliness of his bony frame.In the simple but rough-surfaced pedestal, and in the quiet shadowed, thoughtful head, I wanted to suggest the very simple, classic character of his mind - as well as the loneliness and tragedy of his life.In the hair, I tried for boyishness and humor. I felt it unimportant to invent a purely imaginary portrait of how Lincoln might have looked at twenty-one years. Our knowledge of his appearance, on which the popular symbol of Lincoln is based, is from photographs taken after his fortieth year; my face, therefore, is a compromise between the unknown Indiana youth and the pre-presidential Illinois lawyer.The true look of Lincoln during his Indiana years is as unimportant as  the historical accuracy of his clothing. In favor of representing his character and his contemporary significance to the best advantage, I have subordinated every literal element except the book. In the light of Lincoln's whole life, the axe is unimportant as the book.The placement of the figure was chosen for two reasons: I felt that Lincoln should be placed back among the trees on the plaza, since the forest was his Indiana experience; and it would be difficult to compete in scale with the open plaza and building were the figure to be placed in the open.  Too large a figure in sculpture produces an inhuman and unreal effect.In 1992, Save Outdoor Sculpture! surveyed this piece and found it to be well maintained.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: In Young Abe Lincoln, how is the Description discussed?

Young Abe Lincoln is an oversized, rough style  bronze sculpture of an adolescent Abraham Lincoln.  He wears a shirt, pants raised above the ankle and is barefoot.  His left hand holds a book with the index finger holding his place.   The sculpture sits outside of the Indiana Government Center in Indianapolis, which is adjacent to the Indiana Statehouse. The sculpture measures 108 inches in height by 30 inches in width by 38 1/2 in depth and sits upon a red granite tripartite pedestal that measures 74 inches in height by 82 inches in width by 92 inches in depth.  It weighs over 1,500 pounds.  A foundry mark can be seen on the front of the pedestal MODERN/ART/FDRY/N.Y. The artist signature (D.K. Rubins) and copyright date (1962) can be seen on the rear, proper right side base of the sculpture.Based on a forty six inch plaster mold, a three-dimensional pantograph was used to create a rough, hollow framework of the full-size model of the sculpture from wood. The surface layer of this framework was coated with a layer of oil-base non-hardening clay called plastelene and then the detail work of the sculpture was done by hand.A plaster mold was placed over the finished clay framework and allowed to dry. The mold was then removed, creating a positive plaster cast of the framework.  This cast is a replica of the clay covered framework.The lost-wax casting method was then used to create the actual bronze sculpture.  This process took over five months to complete.The thoughts that concerned me most in making this statue were the necessities of representing a vital energy, lean physical strength, and a tree-like growth suggestive of the strong roots of character that were growing and manifest as early as his Indiana years. In the rather knotty and active forms of the body, I have tried to express that, as well as the rough warmth of his frontier humanity and the ungainliness of his bony frame.In the simple but rough-surfaced pedestal, and in the quiet shadowed, thoughtful head, I wanted to suggest the very simple, classic character of his mind - as well as the loneliness and tragedy of his life.In the hair, I tried for boyishness and humor. I felt it unimportant to invent a purely imaginary portrait of how Lincoln might have looked at twenty-one years. Our knowledge of his appearance, on which the popular symbol of Lincoln is based, is from photographs taken after his fortieth year; my face, therefore, is a compromise between the unknown Indiana youth and the pre-presidential Illinois lawyer.The true look of Lincoln during his Indiana years is as unimportant as  the historical accuracy of his clothing. In favor of representing his character and his contemporary significance to the best advantage, I have subordinated every literal element except the book. In the light of Lincoln's whole life, the axe is unimportant as the book.The placement of the figure was chosen for two reasons: I felt that Lincoln should be placed back among the trees on the plaza, since the forest was his Indiana experience; and it would be difficult to compete in scale with the open plaza and building were the figure to be placed in the open.  Too large a figure in sculpture produces an inhuman and unreal effect.In 1992, Save Outdoor Sculpture! surveyed this piece and found it to be well maintained.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: Focus on Young Abe Lincoln and explain the Historical information.

This sculpture was created as a commissioned piece for winning a competition to decorate the Indiana State Office Building, The Indiana Employment Security Building, or the Adjacent Plaza in Indianapolis, Indiana.  As part of the competition, which was conducted in 1959, the artist was free to choose his own subject matter, location, size of work and whatever material deemed necessary.  There were the following suggestions however:Lincoln was an appropriate theme for the Indiana Government area because Indiana was where he had spent a lot of his youth and where he later visited.The Seal of the State be used somewhere and that Indiana be recognizable in the piece.A possible location be the square area extending into the northeast corner of the reflecting pool.The interior of the entrance lobby of the State Office Building is also another option for placement of an appropriate relief of free-standing sculpture.The piece should have a contemporary feel to it, suitable to the times and architecture of the two buildings.As part of the competition each artist was to deliver a small scale plaster model or sketch of their work and letter of explanation to the Indiana State Office Building Commission located on the third floor of the building located at 309 West Washington Street, Indianapolis, Indiana by no later than Tuesday, December 1, 1959.  Below is a list of artists that an invitation was sent to:Anthony Lauck, University of Notre DameIvan Meštrović, University of Notre DameRobert Laurent, Indiana University, Department of Fine ArtsHarry Engel, Indiana University, Department of Fine ArtsRudy Pozzatti, Indiana University, Department of Fine ArtsGaro Antreasian, John Herron Art InstituteDavid Rubins, John Herron Art InstituteDonald Mattison, John Herron Art InstituteRobert WeaverJames Snodgrass, Contemporary Art WorkshopWill LammHarold ElgarRichard PeelerAdolph WolterWalter LohmanWarner Williams, Culver Military AcademyHenrik Wueberkrop The pieces were judged by a jury, chosen by the State Office Building Commission, composed of Wilbur D. Peat (Director of the John Herron Art Museum), Henry Hope (Chairman of the Art Department at Indiana University), A. Reid Winsey (Chairman of the Art Department of DePauw University), representatives of the architectural firms who designed the office building (Graham, Anderson, Probst & White and Raymond S. Kastendieck & Associates), and representatives of Associated Indiana Architects and architects for the Employment Security Building.  The chosen pieces were given a $500 retainer to present a larger finished model for a second judging.David K. Rubins submitted a 12-inch high model in sculptor's parlance originally and then created a forty six inch plaster model which was selected by the jury as the official sculpture winner. Rubins was then given $32,700 and two years to create the actual statue.On September 26, 1963, Rubins' Young Abe was dedicated to great enthusiasm.Garo Z. Antreasian was selected as the official mural winner.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: Explain the Historical information of this artwork, Young Abe Lincoln.

This sculpture was created as a commissioned piece for winning a competition to decorate the Indiana State Office Building, The Indiana Employment Security Building, or the Adjacent Plaza in Indianapolis, Indiana.  As part of the competition, which was conducted in 1959, the artist was free to choose his own subject matter, location, size of work and whatever material deemed necessary.  There were the following suggestions however:Lincoln was an appropriate theme for the Indiana Government area because Indiana was where he had spent a lot of his youth and where he later visited.The Seal of the State be used somewhere and that Indiana be recognizable in the piece.A possible location be the square area extending into the northeast corner of the reflecting pool.The interior of the entrance lobby of the State Office Building is also another option for placement of an appropriate relief of free-standing sculpture.The piece should have a contemporary feel to it, suitable to the times and architecture of the two buildings.As part of the competition each artist was to deliver a small scale plaster model or sketch of their work and letter of explanation to the Indiana State Office Building Commission located on the third floor of the building located at 309 West Washington Street, Indianapolis, Indiana by no later than Tuesday, December 1, 1959.  Below is a list of artists that an invitation was sent to:Anthony Lauck, University of Notre DameIvan Meštrović, University of Notre DameRobert Laurent, Indiana University, Department of Fine ArtsHarry Engel, Indiana University, Department of Fine ArtsRudy Pozzatti, Indiana University, Department of Fine ArtsGaro Antreasian, John Herron Art InstituteDavid Rubins, John Herron Art InstituteDonald Mattison, John Herron Art InstituteRobert WeaverJames Snodgrass, Contemporary Art WorkshopWill LammHarold ElgarRichard PeelerAdolph WolterWalter LohmanWarner Williams, Culver Military AcademyHenrik Wueberkrop The pieces were judged by a jury, chosen by the State Office Building Commission, composed of Wilbur D. Peat (Director of the John Herron Art Museum), Henry Hope (Chairman of the Art Department at Indiana University), A. Reid Winsey (Chairman of the Art Department of DePauw University), representatives of the architectural firms who designed the office building (Graham, Anderson, Probst & White and Raymond S. Kastendieck & Associates), and representatives of Associated Indiana Architects and architects for the Employment Security Building.  The chosen pieces were given a $500 retainer to present a larger finished model for a second judging.David K. Rubins submitted a 12-inch high model in sculptor's parlance originally and then created a forty six inch plaster model which was selected by the jury as the official sculpture winner. Rubins was then given $32,700 and two years to create the actual statue.On September 26, 1963, Rubins' Young Abe was dedicated to great enthusiasm.Garo Z. Antreasian was selected as the official mural winner.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: How does Young Abe Lincoln explain its Historical information?

This sculpture was created as a commissioned piece for winning a competition to decorate the Indiana State Office Building, The Indiana Employment Security Building, or the Adjacent Plaza in Indianapolis, Indiana.  As part of the competition, which was conducted in 1959, the artist was free to choose his own subject matter, location, size of work and whatever material deemed necessary.  There were the following suggestions however:Lincoln was an appropriate theme for the Indiana Government area because Indiana was where he had spent a lot of his youth and where he later visited.The Seal of the State be used somewhere and that Indiana be recognizable in the piece.A possible location be the square area extending into the northeast corner of the reflecting pool.The interior of the entrance lobby of the State Office Building is also another option for placement of an appropriate relief of free-standing sculpture.The piece should have a contemporary feel to it, suitable to the times and architecture of the two buildings.As part of the competition each artist was to deliver a small scale plaster model or sketch of their work and letter of explanation to the Indiana State Office Building Commission located on the third floor of the building located at 309 West Washington Street, Indianapolis, Indiana by no later than Tuesday, December 1, 1959.  Below is a list of artists that an invitation was sent to:Anthony Lauck, University of Notre DameIvan Meštrović, University of Notre DameRobert Laurent, Indiana University, Department of Fine ArtsHarry Engel, Indiana University, Department of Fine ArtsRudy Pozzatti, Indiana University, Department of Fine ArtsGaro Antreasian, John Herron Art InstituteDavid Rubins, John Herron Art InstituteDonald Mattison, John Herron Art InstituteRobert WeaverJames Snodgrass, Contemporary Art WorkshopWill LammHarold ElgarRichard PeelerAdolph WolterWalter LohmanWarner Williams, Culver Military AcademyHenrik Wueberkrop The pieces were judged by a jury, chosen by the State Office Building Commission, composed of Wilbur D. Peat (Director of the John Herron Art Museum), Henry Hope (Chairman of the Art Department at Indiana University), A. Reid Winsey (Chairman of the Art Department of DePauw University), representatives of the architectural firms who designed the office building (Graham, Anderson, Probst & White and Raymond S. Kastendieck & Associates), and representatives of Associated Indiana Architects and architects for the Employment Security Building.  The chosen pieces were given a $500 retainer to present a larger finished model for a second judging.David K. Rubins submitted a 12-inch high model in sculptor's parlance originally and then created a forty six inch plaster model which was selected by the jury as the official sculpture winner. Rubins was then given $32,700 and two years to create the actual statue.On September 26, 1963, Rubins' Young Abe was dedicated to great enthusiasm.Garo Z. Antreasian was selected as the official mural winner.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: In Young Abe Lincoln, how is the Historical information discussed?

This sculpture was created as a commissioned piece for winning a competition to decorate the Indiana State Office Building, The Indiana Employment Security Building, or the Adjacent Plaza in Indianapolis, Indiana.  As part of the competition, which was conducted in 1959, the artist was free to choose his own subject matter, location, size of work and whatever material deemed necessary.  There were the following suggestions however:Lincoln was an appropriate theme for the Indiana Government area because Indiana was where he had spent a lot of his youth and where he later visited.The Seal of the State be used somewhere and that Indiana be recognizable in the piece.A possible location be the square area extending into the northeast corner of the reflecting pool.The interior of the entrance lobby of the State Office Building is also another option for placement of an appropriate relief of free-standing sculpture.The piece should have a contemporary feel to it, suitable to the times and architecture of the two buildings.As part of the competition each artist was to deliver a small scale plaster model or sketch of their work and letter of explanation to the Indiana State Office Building Commission located on the third floor of the building located at 309 West Washington Street, Indianapolis, Indiana by no later than Tuesday, December 1, 1959.  Below is a list of artists that an invitation was sent to:Anthony Lauck, University of Notre DameIvan Meštrović, University of Notre DameRobert Laurent, Indiana University, Department of Fine ArtsHarry Engel, Indiana University, Department of Fine ArtsRudy Pozzatti, Indiana University, Department of Fine ArtsGaro Antreasian, John Herron Art InstituteDavid Rubins, John Herron Art InstituteDonald Mattison, John Herron Art InstituteRobert WeaverJames Snodgrass, Contemporary Art WorkshopWill LammHarold ElgarRichard PeelerAdolph WolterWalter LohmanWarner Williams, Culver Military AcademyHenrik Wueberkrop The pieces were judged by a jury, chosen by the State Office Building Commission, composed of Wilbur D. Peat (Director of the John Herron Art Museum), Henry Hope (Chairman of the Art Department at Indiana University), A. Reid Winsey (Chairman of the Art Department of DePauw University), representatives of the architectural firms who designed the office building (Graham, Anderson, Probst & White and Raymond S. Kastendieck & Associates), and representatives of Associated Indiana Architects and architects for the Employment Security Building.  The chosen pieces were given a $500 retainer to present a larger finished model for a second judging.David K. Rubins submitted a 12-inch high model in sculptor's parlance originally and then created a forty six inch plaster model which was selected by the jury as the official sculpture winner. Rubins was then given $32,700 and two years to create the actual statue.On September 26, 1963, Rubins' Young Abe was dedicated to great enthusiasm.Garo Z. Antreasian was selected as the official mural winner.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana