Sripuranthan Natarajan Idol

Prompt: Focus on Sripuranthan Natarajan Idol and explain the Acquisition by the National Gallery of Australia.

The National Gallery of Australia (NGA) was keen to enhance its collection of Indian art. In 2008, the NGA, under Ron Radford, director and Robyn Maxwell, senior curator Asian art, acquired the dancing Shiva from Subhash Kapoor. The provenance provided stated that the idol was sold by Raj Mehgoub of Grand Central Parkway to Subhash Kapoor. Further, it was claimed the idol was acquired in New Delhi in 1970 (a year before the Indian government banned the export of antiquities from India), by Raj's late husband Abdullah Mehgoub, who was a Sudanese diplomat serving in India between 1968 and 1971. A sales receipt dated 15 April 1970, issued by Uttam Singh & Sons, Jama Masjid, Delhi, to Abdulla Mehgoub of Defence Colony, New Delhi was produced as part of the provenance. US$5.1 million was paid by the National Gallery of Australia for the idol.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Explain the Acquisition by the National Gallery of Australia of this artwork, Sripuranthan Natarajan Idol.

The National Gallery of Australia (NGA) was keen to enhance its collection of Indian art. In 2008, the NGA, under Ron Radford, director and Robyn Maxwell, senior curator Asian art, acquired the dancing Shiva from Subhash Kapoor. The provenance provided stated that the idol was sold by Raj Mehgoub of Grand Central Parkway to Subhash Kapoor. Further, it was claimed the idol was acquired in New Delhi in 1970 (a year before the Indian government banned the export of antiquities from India), by Raj's late husband Abdullah Mehgoub, who was a Sudanese diplomat serving in India between 1968 and 1971. A sales receipt dated 15 April 1970, issued by Uttam Singh & Sons, Jama Masjid, Delhi, to Abdulla Mehgoub of Defence Colony, New Delhi was produced as part of the provenance. US$5.1 million was paid by the National Gallery of Australia for the idol.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: How does Sripuranthan Natarajan Idol explain its Acquisition by the National Gallery of Australia?

The National Gallery of Australia (NGA) was keen to enhance its collection of Indian art. In 2008, the NGA, under Ron Radford, director and Robyn Maxwell, senior curator Asian art, acquired the dancing Shiva from Subhash Kapoor. The provenance provided stated that the idol was sold by Raj Mehgoub of Grand Central Parkway to Subhash Kapoor. Further, it was claimed the idol was acquired in New Delhi in 1970 (a year before the Indian government banned the export of antiquities from India), by Raj's late husband Abdullah Mehgoub, who was a Sudanese diplomat serving in India between 1968 and 1971. A sales receipt dated 15 April 1970, issued by Uttam Singh & Sons, Jama Masjid, Delhi, to Abdulla Mehgoub of Defence Colony, New Delhi was produced as part of the provenance. US$5.1 million was paid by the National Gallery of Australia for the idol.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: In Sripuranthan Natarajan Idol, how is the Acquisition by the National Gallery of Australia discussed?

The National Gallery of Australia (NGA) was keen to enhance its collection of Indian art. In 2008, the NGA, under Ron Radford, director and Robyn Maxwell, senior curator Asian art, acquired the dancing Shiva from Subhash Kapoor. The provenance provided stated that the idol was sold by Raj Mehgoub of Grand Central Parkway to Subhash Kapoor. Further, it was claimed the idol was acquired in New Delhi in 1970 (a year before the Indian government banned the export of antiquities from India), by Raj's late husband Abdullah Mehgoub, who was a Sudanese diplomat serving in India between 1968 and 1971. A sales receipt dated 15 April 1970, issued by Uttam Singh & Sons, Jama Masjid, Delhi, to Abdulla Mehgoub of Defence Colony, New Delhi was produced as part of the provenance. US$5.1 million was paid by the National Gallery of Australia for the idol.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Focus on Sripuranthan Natarajan Idol and explain the Theft exposed.

The investigative website Chasing Aphrodite was the first to expose that the Shiva idol acquired by the NGA was a stolen artwork from Southern India. The story was picked up by Australian and Indian news agencies and widely reported. New York Police recovered pictures of the idol from Kapoor's house, where it appeared in a contemporary Indian house environment, discounting the claim that the idol has been outside India since 1971. Records of the idol had been maintained at the French Institute of Pondicherry, with three photo records from different periods. Further, a 75-year-old farmer, Govindarajan, had a 30-year-old picture of Natarajan and his consort, which was taken by a photographer from Kumbakonam. Using this information, The Hindu ran an investigative piece comparing photos — a photo of the Sripuranthan Natarajar idol from the French Institute of Pondicherry taken in 1994, photos of the idol recovered by New York Police during the raid of Kapoor's house, and the photo of the idol displayed at the National Gallery of Australia. It concluded all the photos were of the same idol, showing seven similarities 27 flames around the circleLeft leg pointing between the 3rd and 4th flameWaist cloth of shiva merged with the 23rd and 24th flame3rd flame slightly damaged12th and 13th flame damaged17th flame damagedFlowing hair damagedHowever, the National Gallery of Australia, continued to deny that the artwork was stolen, refused to return it, and continued to display it in the gallery, without any note of its doubtful provenance. This stand was criticised by the Australian media, with Duncan Chappell, criminology expert from University of Sydney, calling it inappropriate and an international embarrassment. The Government of India formally requested the artwork to be returned, under the UNESCO convention on stolen antiquities.Investigative site Poetry in Stone published a list of stories named as the 'Kapoor Files', showing that several of the stolen idols stolen from Sripuranthan and Suthamalli had appeared in consecutive 'Art of the Past' catalogues. The site compared the photos published in the Kapoor catalogs with the photos of the stolen idols as recorded by the French Institute of Pondicherry and pointed out the similarities.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Explain the Theft exposed of this artwork, Sripuranthan Natarajan Idol.

The investigative website Chasing Aphrodite was the first to expose that the Shiva idol acquired by the NGA was a stolen artwork from Southern India. The story was picked up by Australian and Indian news agencies and widely reported. New York Police recovered pictures of the idol from Kapoor's house, where it appeared in a contemporary Indian house environment, discounting the claim that the idol has been outside India since 1971. Records of the idol had been maintained at the French Institute of Pondicherry, with three photo records from different periods. Further, a 75-year-old farmer, Govindarajan, had a 30-year-old picture of Natarajan and his consort, which was taken by a photographer from Kumbakonam. Using this information, The Hindu ran an investigative piece comparing photos — a photo of the Sripuranthan Natarajar idol from the French Institute of Pondicherry taken in 1994, photos of the idol recovered by New York Police during the raid of Kapoor's house, and the photo of the idol displayed at the National Gallery of Australia. It concluded all the photos were of the same idol, showing seven similarities 27 flames around the circleLeft leg pointing between the 3rd and 4th flameWaist cloth of shiva merged with the 23rd and 24th flame3rd flame slightly damaged12th and 13th flame damaged17th flame damagedFlowing hair damagedHowever, the National Gallery of Australia, continued to deny that the artwork was stolen, refused to return it, and continued to display it in the gallery, without any note of its doubtful provenance. This stand was criticised by the Australian media, with Duncan Chappell, criminology expert from University of Sydney, calling it inappropriate and an international embarrassment. The Government of India formally requested the artwork to be returned, under the UNESCO convention on stolen antiquities.Investigative site Poetry in Stone published a list of stories named as the 'Kapoor Files', showing that several of the stolen idols stolen from Sripuranthan and Suthamalli had appeared in consecutive 'Art of the Past' catalogues. The site compared the photos published in the Kapoor catalogs with the photos of the stolen idols as recorded by the French Institute of Pondicherry and pointed out the similarities.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: How does Sripuranthan Natarajan Idol explain its Theft exposed?

The investigative website Chasing Aphrodite was the first to expose that the Shiva idol acquired by the NGA was a stolen artwork from Southern India. The story was picked up by Australian and Indian news agencies and widely reported. New York Police recovered pictures of the idol from Kapoor's house, where it appeared in a contemporary Indian house environment, discounting the claim that the idol has been outside India since 1971. Records of the idol had been maintained at the French Institute of Pondicherry, with three photo records from different periods. Further, a 75-year-old farmer, Govindarajan, had a 30-year-old picture of Natarajan and his consort, which was taken by a photographer from Kumbakonam. Using this information, The Hindu ran an investigative piece comparing photos — a photo of the Sripuranthan Natarajar idol from the French Institute of Pondicherry taken in 1994, photos of the idol recovered by New York Police during the raid of Kapoor's house, and the photo of the idol displayed at the National Gallery of Australia. It concluded all the photos were of the same idol, showing seven similarities 27 flames around the circleLeft leg pointing between the 3rd and 4th flameWaist cloth of shiva merged with the 23rd and 24th flame3rd flame slightly damaged12th and 13th flame damaged17th flame damagedFlowing hair damagedHowever, the National Gallery of Australia, continued to deny that the artwork was stolen, refused to return it, and continued to display it in the gallery, without any note of its doubtful provenance. This stand was criticised by the Australian media, with Duncan Chappell, criminology expert from University of Sydney, calling it inappropriate and an international embarrassment. The Government of India formally requested the artwork to be returned, under the UNESCO convention on stolen antiquities.Investigative site Poetry in Stone published a list of stories named as the 'Kapoor Files', showing that several of the stolen idols stolen from Sripuranthan and Suthamalli had appeared in consecutive 'Art of the Past' catalogues. The site compared the photos published in the Kapoor catalogs with the photos of the stolen idols as recorded by the French Institute of Pondicherry and pointed out the similarities.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: In Sripuranthan Natarajan Idol, how is the Theft exposed discussed?

The investigative website Chasing Aphrodite was the first to expose that the Shiva idol acquired by the NGA was a stolen artwork from Southern India. The story was picked up by Australian and Indian news agencies and widely reported. New York Police recovered pictures of the idol from Kapoor's house, where it appeared in a contemporary Indian house environment, discounting the claim that the idol has been outside India since 1971. Records of the idol had been maintained at the French Institute of Pondicherry, with three photo records from different periods. Further, a 75-year-old farmer, Govindarajan, had a 30-year-old picture of Natarajan and his consort, which was taken by a photographer from Kumbakonam. Using this information, The Hindu ran an investigative piece comparing photos — a photo of the Sripuranthan Natarajar idol from the French Institute of Pondicherry taken in 1994, photos of the idol recovered by New York Police during the raid of Kapoor's house, and the photo of the idol displayed at the National Gallery of Australia. It concluded all the photos were of the same idol, showing seven similarities 27 flames around the circleLeft leg pointing between the 3rd and 4th flameWaist cloth of shiva merged with the 23rd and 24th flame3rd flame slightly damaged12th and 13th flame damaged17th flame damagedFlowing hair damagedHowever, the National Gallery of Australia, continued to deny that the artwork was stolen, refused to return it, and continued to display it in the gallery, without any note of its doubtful provenance. This stand was criticised by the Australian media, with Duncan Chappell, criminology expert from University of Sydney, calling it inappropriate and an international embarrassment. The Government of India formally requested the artwork to be returned, under the UNESCO convention on stolen antiquities.Investigative site Poetry in Stone published a list of stories named as the 'Kapoor Files', showing that several of the stolen idols stolen from Sripuranthan and Suthamalli had appeared in consecutive 'Art of the Past' catalogues. The site compared the photos published in the Kapoor catalogs with the photos of the stolen idols as recorded by the French Institute of Pondicherry and pointed out the similarities.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Focus on Sripuranthan Natarajan Idol and explain the Return to India.

In March 2014, Ron Radford, the director of the National Gallery of Australia, removed the idol from display. In September 2014, the Australian government returned the Natarajan idol to India, along with another stolen antique idol of Shiva as Ardhanarishvarar which was displayed at the Art Gallery of New South Wales. The two were handed over by the then Australian Prime Minister Tony Abbott to the Indian Prime Minister Narendra Modi on 5 September 2014, at New Delhi.The Nataraja idol was then moved to Chennai and stored in the safe room of the Archaeological Survey of India office at Fort St. George, before being produced before the judicial magistrates of Jayankondam and Vridhachalam.In November 2014, the Nataraja idol was paraded on the streets of Sripuranthan, under tight security. It was temporarily placed in its original damp stone altar. However, officials made it clear that the statue would be displayed at the government museum at Kumbakonam and will be brought into Sripuranthan for annual festivities. The consort of Nataraja was traced to the Asian Civilisation Museum at Singapore, and the Government of Singapore agreed for its return to India.Overall four of the eight statues stolen from Sripuranthan were traced, with three to the United States and one to Singapore.In March 2016, the Natarajan idol was re-united with its consort Uma Parmeshwari, at the ASI Icon Centre, Kumbakonam, after nearly 8 years. The Singapore Civilisation Museum had finally returned the Uma Parmeshwari after long negotiations with the Indian Government.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Explain the Return to India of this artwork, Sripuranthan Natarajan Idol.

In March 2014, Ron Radford, the director of the National Gallery of Australia, removed the idol from display. In September 2014, the Australian government returned the Natarajan idol to India, along with another stolen antique idol of Shiva as Ardhanarishvarar which was displayed at the Art Gallery of New South Wales. The two were handed over by the then Australian Prime Minister Tony Abbott to the Indian Prime Minister Narendra Modi on 5 September 2014, at New Delhi.The Nataraja idol was then moved to Chennai and stored in the safe room of the Archaeological Survey of India office at Fort St. George, before being produced before the judicial magistrates of Jayankondam and Vridhachalam.In November 2014, the Nataraja idol was paraded on the streets of Sripuranthan, under tight security. It was temporarily placed in its original damp stone altar. However, officials made it clear that the statue would be displayed at the government museum at Kumbakonam and will be brought into Sripuranthan for annual festivities. The consort of Nataraja was traced to the Asian Civilisation Museum at Singapore, and the Government of Singapore agreed for its return to India.Overall four of the eight statues stolen from Sripuranthan were traced, with three to the United States and one to Singapore.In March 2016, the Natarajan idol was re-united with its consort Uma Parmeshwari, at the ASI Icon Centre, Kumbakonam, after nearly 8 years. The Singapore Civilisation Museum had finally returned the Uma Parmeshwari after long negotiations with the Indian Government.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: How does Sripuranthan Natarajan Idol explain its Return to India?

In March 2014, Ron Radford, the director of the National Gallery of Australia, removed the idol from display. In September 2014, the Australian government returned the Natarajan idol to India, along with another stolen antique idol of Shiva as Ardhanarishvarar which was displayed at the Art Gallery of New South Wales. The two were handed over by the then Australian Prime Minister Tony Abbott to the Indian Prime Minister Narendra Modi on 5 September 2014, at New Delhi.The Nataraja idol was then moved to Chennai and stored in the safe room of the Archaeological Survey of India office at Fort St. George, before being produced before the judicial magistrates of Jayankondam and Vridhachalam.In November 2014, the Nataraja idol was paraded on the streets of Sripuranthan, under tight security. It was temporarily placed in its original damp stone altar. However, officials made it clear that the statue would be displayed at the government museum at Kumbakonam and will be brought into Sripuranthan for annual festivities. The consort of Nataraja was traced to the Asian Civilisation Museum at Singapore, and the Government of Singapore agreed for its return to India.Overall four of the eight statues stolen from Sripuranthan were traced, with three to the United States and one to Singapore.In March 2016, the Natarajan idol was re-united with its consort Uma Parmeshwari, at the ASI Icon Centre, Kumbakonam, after nearly 8 years. The Singapore Civilisation Museum had finally returned the Uma Parmeshwari after long negotiations with the Indian Government.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: In Sripuranthan Natarajan Idol, how is the Return to India discussed?

In March 2014, Ron Radford, the director of the National Gallery of Australia, removed the idol from display. In September 2014, the Australian government returned the Natarajan idol to India, along with another stolen antique idol of Shiva as Ardhanarishvarar which was displayed at the Art Gallery of New South Wales. The two were handed over by the then Australian Prime Minister Tony Abbott to the Indian Prime Minister Narendra Modi on 5 September 2014, at New Delhi.The Nataraja idol was then moved to Chennai and stored in the safe room of the Archaeological Survey of India office at Fort St. George, before being produced before the judicial magistrates of Jayankondam and Vridhachalam.In November 2014, the Nataraja idol was paraded on the streets of Sripuranthan, under tight security. It was temporarily placed in its original damp stone altar. However, officials made it clear that the statue would be displayed at the government museum at Kumbakonam and will be brought into Sripuranthan for annual festivities. The consort of Nataraja was traced to the Asian Civilisation Museum at Singapore, and the Government of Singapore agreed for its return to India.Overall four of the eight statues stolen from Sripuranthan were traced, with three to the United States and one to Singapore.In March 2016, the Natarajan idol was re-united with its consort Uma Parmeshwari, at the ASI Icon Centre, Kumbakonam, after nearly 8 years. The Singapore Civilisation Museum had finally returned the Uma Parmeshwari after long negotiations with the Indian Government.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Focus on Sripuranthan Natarajan Idol and explain the Consequences.

Subhash Kapoor's arrest alarmed museums all over the world, as they started investigating their purchases from his gallery. The Linden Museum in Germany returned to the Indian government a 9th-century AD idol of Mahishasuramardini, stolen from Pulwama district in Jammu and Kashmir in the 1990s, which had been acquired from Kapoor. The Toledo Museum of Art in Ohio returned four artifacts acquired from Kapoor, including the Vinayagar statue stolen from Sripuranthan. The other antiques are a stone idol of Varaha Rescuing the Earth (acquired 2001), Mughal origin 18th-century enamel with gold box (acquired 2008), and a watercolour Rasikapriya from the Samdehi Ragini (acquired 2010).In November 2015, the United States returned a chola period bronze of Shivan and Parvathi, which was sold to the David Owsley Museum of Art at the Ball State University in 2005 by Subhash Kapoor. Here also, the sculpture was sold with a false provenance which placed it back to an American collection of Leo Figie, dated to 1969. The idol was recovered by the US Immigration and Customs Enforcement’s (ICE) Homeland Security Investigations (HSI).In June 2016, the United States returned nearly 200 antiques to the Indian Government, in the presence of the visiting Prime Minister of India, Narendra Modi at Washington DC. Among the antiques returned were the Chola period (850 AD to 1250 AD) bronze of the Tamil Shaivite poet Manikkavacakar stolen from the Sivan Temple in Madras and the 1000 year old Sripuranthan Vinayagar which was displayed at the Toledo Museum of Art.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Explain the Consequences of this artwork, Sripuranthan Natarajan Idol.

Subhash Kapoor's arrest alarmed museums all over the world, as they started investigating their purchases from his gallery. The Linden Museum in Germany returned to the Indian government a 9th-century AD idol of Mahishasuramardini, stolen from Pulwama district in Jammu and Kashmir in the 1990s, which had been acquired from Kapoor. The Toledo Museum of Art in Ohio returned four artifacts acquired from Kapoor, including the Vinayagar statue stolen from Sripuranthan. The other antiques are a stone idol of Varaha Rescuing the Earth (acquired 2001), Mughal origin 18th-century enamel with gold box (acquired 2008), and a watercolour Rasikapriya from the Samdehi Ragini (acquired 2010).In November 2015, the United States returned a chola period bronze of Shivan and Parvathi, which was sold to the David Owsley Museum of Art at the Ball State University in 2005 by Subhash Kapoor. Here also, the sculpture was sold with a false provenance which placed it back to an American collection of Leo Figie, dated to 1969. The idol was recovered by the US Immigration and Customs Enforcement’s (ICE) Homeland Security Investigations (HSI).In June 2016, the United States returned nearly 200 antiques to the Indian Government, in the presence of the visiting Prime Minister of India, Narendra Modi at Washington DC. Among the antiques returned were the Chola period (850 AD to 1250 AD) bronze of the Tamil Shaivite poet Manikkavacakar stolen from the Sivan Temple in Madras and the 1000 year old Sripuranthan Vinayagar which was displayed at the Toledo Museum of Art.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: How does Sripuranthan Natarajan Idol explain its Consequences?

Subhash Kapoor's arrest alarmed museums all over the world, as they started investigating their purchases from his gallery. The Linden Museum in Germany returned to the Indian government a 9th-century AD idol of Mahishasuramardini, stolen from Pulwama district in Jammu and Kashmir in the 1990s, which had been acquired from Kapoor. The Toledo Museum of Art in Ohio returned four artifacts acquired from Kapoor, including the Vinayagar statue stolen from Sripuranthan. The other antiques are a stone idol of Varaha Rescuing the Earth (acquired 2001), Mughal origin 18th-century enamel with gold box (acquired 2008), and a watercolour Rasikapriya from the Samdehi Ragini (acquired 2010).In November 2015, the United States returned a chola period bronze of Shivan and Parvathi, which was sold to the David Owsley Museum of Art at the Ball State University in 2005 by Subhash Kapoor. Here also, the sculpture was sold with a false provenance which placed it back to an American collection of Leo Figie, dated to 1969. The idol was recovered by the US Immigration and Customs Enforcement’s (ICE) Homeland Security Investigations (HSI).In June 2016, the United States returned nearly 200 antiques to the Indian Government, in the presence of the visiting Prime Minister of India, Narendra Modi at Washington DC. Among the antiques returned were the Chola period (850 AD to 1250 AD) bronze of the Tamil Shaivite poet Manikkavacakar stolen from the Sivan Temple in Madras and the 1000 year old Sripuranthan Vinayagar which was displayed at the Toledo Museum of Art.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: In Sripuranthan Natarajan Idol, how is the Consequences discussed?

Subhash Kapoor's arrest alarmed museums all over the world, as they started investigating their purchases from his gallery. The Linden Museum in Germany returned to the Indian government a 9th-century AD idol of Mahishasuramardini, stolen from Pulwama district in Jammu and Kashmir in the 1990s, which had been acquired from Kapoor. The Toledo Museum of Art in Ohio returned four artifacts acquired from Kapoor, including the Vinayagar statue stolen from Sripuranthan. The other antiques are a stone idol of Varaha Rescuing the Earth (acquired 2001), Mughal origin 18th-century enamel with gold box (acquired 2008), and a watercolour Rasikapriya from the Samdehi Ragini (acquired 2010).In November 2015, the United States returned a chola period bronze of Shivan and Parvathi, which was sold to the David Owsley Museum of Art at the Ball State University in 2005 by Subhash Kapoor. Here also, the sculpture was sold with a false provenance which placed it back to an American collection of Leo Figie, dated to 1969. The idol was recovered by the US Immigration and Customs Enforcement’s (ICE) Homeland Security Investigations (HSI).In June 2016, the United States returned nearly 200 antiques to the Indian Government, in the presence of the visiting Prime Minister of India, Narendra Modi at Washington DC. Among the antiques returned were the Chola period (850 AD to 1250 AD) bronze of the Tamil Shaivite poet Manikkavacakar stolen from the Sivan Temple in Madras and the 1000 year old Sripuranthan Vinayagar which was displayed at the Toledo Museum of Art.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Lilith (painting)

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

Lilith is an 1887 painting by English artist John Collier, who worked in the style of the Pre-Raphaelite Brotherhood. The painting of the Jewish mythic figure Lilith is held in the Atkinson Art Gallery in Southport, England. It was transferred from Bootle Art Gallery in the 1970s.

Category:Paintings in North West England


Lilith (painting)

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

Lilith is an 1887 painting by English artist John Collier, who worked in the style of the Pre-Raphaelite Brotherhood. The painting of the Jewish mythic figure Lilith is held in the Atkinson Art Gallery in Southport, England. It was transferred from Bootle Art Gallery in the 1970s.

Category:Paintings in North West England


Lilith (painting)

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

Lilith is an 1887 painting by English artist John Collier, who worked in the style of the Pre-Raphaelite Brotherhood. The painting of the Jewish mythic figure Lilith is held in the Atkinson Art Gallery in Southport, England. It was transferred from Bootle Art Gallery in the 1970s.

Category:Paintings in North West England


Lilith (painting)

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

Lilith is an 1887 painting by English artist John Collier, who worked in the style of the Pre-Raphaelite Brotherhood. The painting of the Jewish mythic figure Lilith is held in the Atkinson Art Gallery in Southport, England. It was transferred from Bootle Art Gallery in the 1970s.

Category:Paintings in North West England


Lilith (painting)

Prompt: Focus on Lilith (painting) and explain the Description.

Collier portrayed Lilith as a golden-haired, porcelain-skinned beautiful nude woman who fondles on her shoulder the head of a serpent, coiled around her body in a passionate embrace. Against the background of a dark, brown-green jungle, stands a naked female figure, whose pale skin and long blond hair falling down her back form a stark contrast with the forest. The head position and gaze of Lilith are turned away from the viewer, concentrating on the snake's head resting on her shoulder. The snake encircles her body in several coils, starting around its closely spaced ankles, past the knee, to her lower abdomen, where it thereby conceals. Lilith supports the snake's body with her hands in the area of her upper body, so that the snake's head can lie over her right shoulder up to her throat. Lilith's head is bent towards the snake, her cheek nestles against the animal. The brown tones of the snake's body stand out in contrast with the pale woman's body, but take up the color scheme of the surrounding jungle. Collier presented his painting inspired by fellow painter and poet Dante Gabriel Rossetti's 1868 poem Lilith, or Body's Beauty, which describes Lilith as the witch who loved Adam before Eve. Her magnificent tresses gave the world "its first gold," but her beauty was a weapon and her charms deadly.The magazine The British Architect described the work in 1887: "Here is a nude woman, whose voluptuous, round form is most gracefully represented, surrounded by a great serpent, the thickest part of which crosses it horizontally and cuts it in half; her head slides down her chest and she seems to be pulling it in tighter coils. The background is a coarse kind of green, repulsive and abominable."

Category:Paintings in North West England


Lilith (painting)

Prompt: Explain the Description of this artwork, Lilith (painting).

Collier portrayed Lilith as a golden-haired, porcelain-skinned beautiful nude woman who fondles on her shoulder the head of a serpent, coiled around her body in a passionate embrace. Against the background of a dark, brown-green jungle, stands a naked female figure, whose pale skin and long blond hair falling down her back form a stark contrast with the forest. The head position and gaze of Lilith are turned away from the viewer, concentrating on the snake's head resting on her shoulder. The snake encircles her body in several coils, starting around its closely spaced ankles, past the knee, to her lower abdomen, where it thereby conceals. Lilith supports the snake's body with her hands in the area of her upper body, so that the snake's head can lie over her right shoulder up to her throat. Lilith's head is bent towards the snake, her cheek nestles against the animal. The brown tones of the snake's body stand out in contrast with the pale woman's body, but take up the color scheme of the surrounding jungle. Collier presented his painting inspired by fellow painter and poet Dante Gabriel Rossetti's 1868 poem Lilith, or Body's Beauty, which describes Lilith as the witch who loved Adam before Eve. Her magnificent tresses gave the world "its first gold," but her beauty was a weapon and her charms deadly.The magazine The British Architect described the work in 1887: "Here is a nude woman, whose voluptuous, round form is most gracefully represented, surrounded by a great serpent, the thickest part of which crosses it horizontally and cuts it in half; her head slides down her chest and she seems to be pulling it in tighter coils. The background is a coarse kind of green, repulsive and abominable."

Category:Paintings in North West England


Lilith (painting)

Prompt: How does Lilith (painting) explain its Description?

Collier portrayed Lilith as a golden-haired, porcelain-skinned beautiful nude woman who fondles on her shoulder the head of a serpent, coiled around her body in a passionate embrace. Against the background of a dark, brown-green jungle, stands a naked female figure, whose pale skin and long blond hair falling down her back form a stark contrast with the forest. The head position and gaze of Lilith are turned away from the viewer, concentrating on the snake's head resting on her shoulder. The snake encircles her body in several coils, starting around its closely spaced ankles, past the knee, to her lower abdomen, where it thereby conceals. Lilith supports the snake's body with her hands in the area of her upper body, so that the snake's head can lie over her right shoulder up to her throat. Lilith's head is bent towards the snake, her cheek nestles against the animal. The brown tones of the snake's body stand out in contrast with the pale woman's body, but take up the color scheme of the surrounding jungle. Collier presented his painting inspired by fellow painter and poet Dante Gabriel Rossetti's 1868 poem Lilith, or Body's Beauty, which describes Lilith as the witch who loved Adam before Eve. Her magnificent tresses gave the world "its first gold," but her beauty was a weapon and her charms deadly.The magazine The British Architect described the work in 1887: "Here is a nude woman, whose voluptuous, round form is most gracefully represented, surrounded by a great serpent, the thickest part of which crosses it horizontally and cuts it in half; her head slides down her chest and she seems to be pulling it in tighter coils. The background is a coarse kind of green, repulsive and abominable."

Category:Paintings in North West England


Lilith (painting)

Prompt: In Lilith (painting), how is the Description discussed?

Collier portrayed Lilith as a golden-haired, porcelain-skinned beautiful nude woman who fondles on her shoulder the head of a serpent, coiled around her body in a passionate embrace. Against the background of a dark, brown-green jungle, stands a naked female figure, whose pale skin and long blond hair falling down her back form a stark contrast with the forest. The head position and gaze of Lilith are turned away from the viewer, concentrating on the snake's head resting on her shoulder. The snake encircles her body in several coils, starting around its closely spaced ankles, past the knee, to her lower abdomen, where it thereby conceals. Lilith supports the snake's body with her hands in the area of her upper body, so that the snake's head can lie over her right shoulder up to her throat. Lilith's head is bent towards the snake, her cheek nestles against the animal. The brown tones of the snake's body stand out in contrast with the pale woman's body, but take up the color scheme of the surrounding jungle. Collier presented his painting inspired by fellow painter and poet Dante Gabriel Rossetti's 1868 poem Lilith, or Body's Beauty, which describes Lilith as the witch who loved Adam before Eve. Her magnificent tresses gave the world "its first gold," but her beauty was a weapon and her charms deadly.The magazine The British Architect described the work in 1887: "Here is a nude woman, whose voluptuous, round form is most gracefully represented, surrounded by a great serpent, the thickest part of which crosses it horizontally and cuts it in half; her head slides down her chest and she seems to be pulling it in tighter coils. The background is a coarse kind of green, repulsive and abominable."

Category:Paintings in North West England


Lilith (painting)

Prompt: Focus on Lilith (painting) and explain the Reception.

When Collier presented his monumental painting to the public, he received mostly acclaim, beginning with the London Exhibition of the Royal Academy of Arts, in 1887.On the occasion of the 11th Summer show of London's Grosvenor Gallery in 1887, The Photographic News magazine found the Lilith nude study to be of considerable value. The exhibition catalog itself notes that the painting is worth looking at closely in terms of craftsmanship and sensitivity, and that the painterly execution of the snake is also noteworthy. The British Architect magazine noted that few painters could paint like Collier, and only an handful of them probably would be able to paint the snake like him.The journal The Athenaeum ruled that Collier provoked a risky comparison by taking inspiration from Dante Gabriel Rossetti's poem Lilith in his painting. His Lilith features a sturdy model of about 25 years of age, standing erect, naked, arms crossed in front of her body, tilting her head slightly to one side so that her light blonde hair could fall down her back like a cloak. She is ensnared by a monstrous snake, which coils around her and pushes its head over her shoulder. The female figure is magnificently painted, thoroughly thought out, carefully worked, but is more reminiscent of Salammbô. Highly commendable as an informed study, it was by no means too similar to Rossetti's.The Spectator attested to the picture's detailed, skilfully crafted and realistic depiction, which, however, meant that "somehow all poetry and every feeling had slipped away in the execution" and emphasized that in general every nude painting "which only realizes the superficial of the body strives, and in a realistic way, must be bad art” if it is painted uninspired of feelings and thoughts.The painting was part of the exhibition Wild. Fashion Untamed at the Metropolitan Museum of Art in New York, in 2004.

Category:Paintings in North West England


Lilith (painting)

Prompt: Explain the Reception of this artwork, Lilith (painting).

When Collier presented his monumental painting to the public, he received mostly acclaim, beginning with the London Exhibition of the Royal Academy of Arts, in 1887.On the occasion of the 11th Summer show of London's Grosvenor Gallery in 1887, The Photographic News magazine found the Lilith nude study to be of considerable value. The exhibition catalog itself notes that the painting is worth looking at closely in terms of craftsmanship and sensitivity, and that the painterly execution of the snake is also noteworthy. The British Architect magazine noted that few painters could paint like Collier, and only an handful of them probably would be able to paint the snake like him.The journal The Athenaeum ruled that Collier provoked a risky comparison by taking inspiration from Dante Gabriel Rossetti's poem Lilith in his painting. His Lilith features a sturdy model of about 25 years of age, standing erect, naked, arms crossed in front of her body, tilting her head slightly to one side so that her light blonde hair could fall down her back like a cloak. She is ensnared by a monstrous snake, which coils around her and pushes its head over her shoulder. The female figure is magnificently painted, thoroughly thought out, carefully worked, but is more reminiscent of Salammbô. Highly commendable as an informed study, it was by no means too similar to Rossetti's.The Spectator attested to the picture's detailed, skilfully crafted and realistic depiction, which, however, meant that "somehow all poetry and every feeling had slipped away in the execution" and emphasized that in general every nude painting "which only realizes the superficial of the body strives, and in a realistic way, must be bad art” if it is painted uninspired of feelings and thoughts.The painting was part of the exhibition Wild. Fashion Untamed at the Metropolitan Museum of Art in New York, in 2004.

Category:Paintings in North West England


Lilith (painting)

Prompt: How does Lilith (painting) explain its Reception?

When Collier presented his monumental painting to the public, he received mostly acclaim, beginning with the London Exhibition of the Royal Academy of Arts, in 1887.On the occasion of the 11th Summer show of London's Grosvenor Gallery in 1887, The Photographic News magazine found the Lilith nude study to be of considerable value. The exhibition catalog itself notes that the painting is worth looking at closely in terms of craftsmanship and sensitivity, and that the painterly execution of the snake is also noteworthy. The British Architect magazine noted that few painters could paint like Collier, and only an handful of them probably would be able to paint the snake like him.The journal The Athenaeum ruled that Collier provoked a risky comparison by taking inspiration from Dante Gabriel Rossetti's poem Lilith in his painting. His Lilith features a sturdy model of about 25 years of age, standing erect, naked, arms crossed in front of her body, tilting her head slightly to one side so that her light blonde hair could fall down her back like a cloak. She is ensnared by a monstrous snake, which coils around her and pushes its head over her shoulder. The female figure is magnificently painted, thoroughly thought out, carefully worked, but is more reminiscent of Salammbô. Highly commendable as an informed study, it was by no means too similar to Rossetti's.The Spectator attested to the picture's detailed, skilfully crafted and realistic depiction, which, however, meant that "somehow all poetry and every feeling had slipped away in the execution" and emphasized that in general every nude painting "which only realizes the superficial of the body strives, and in a realistic way, must be bad art” if it is painted uninspired of feelings and thoughts.The painting was part of the exhibition Wild. Fashion Untamed at the Metropolitan Museum of Art in New York, in 2004.

Category:Paintings in North West England


Lilith (painting)

Prompt: In Lilith (painting), how is the Reception discussed?

When Collier presented his monumental painting to the public, he received mostly acclaim, beginning with the London Exhibition of the Royal Academy of Arts, in 1887.On the occasion of the 11th Summer show of London's Grosvenor Gallery in 1887, The Photographic News magazine found the Lilith nude study to be of considerable value. The exhibition catalog itself notes that the painting is worth looking at closely in terms of craftsmanship and sensitivity, and that the painterly execution of the snake is also noteworthy. The British Architect magazine noted that few painters could paint like Collier, and only an handful of them probably would be able to paint the snake like him.The journal The Athenaeum ruled that Collier provoked a risky comparison by taking inspiration from Dante Gabriel Rossetti's poem Lilith in his painting. His Lilith features a sturdy model of about 25 years of age, standing erect, naked, arms crossed in front of her body, tilting her head slightly to one side so that her light blonde hair could fall down her back like a cloak. She is ensnared by a monstrous snake, which coils around her and pushes its head over her shoulder. The female figure is magnificently painted, thoroughly thought out, carefully worked, but is more reminiscent of Salammbô. Highly commendable as an informed study, it was by no means too similar to Rossetti's.The Spectator attested to the picture's detailed, skilfully crafted and realistic depiction, which, however, meant that "somehow all poetry and every feeling had slipped away in the execution" and emphasized that in general every nude painting "which only realizes the superficial of the body strives, and in a realistic way, must be bad art” if it is painted uninspired of feelings and thoughts.The painting was part of the exhibition Wild. Fashion Untamed at the Metropolitan Museum of Art in New York, in 2004.

Category:Paintings in North West England


Las Damas Romanas

Prompt: Focus on Las Damas Romanas and explain the abstract.

Las Damas Romanas (literally, "The Roman Dames"), also known as The Roman Maidens, The Roman Women, or The Roman Ladies, is an oil on canvas painted in the style of Neo-Classicism by Juan Luna, one of the most famous Filipino painters of the Spanish period in the Philippines. It was painted by Luna when he was a student of the school of painting in the Real Academia de Bellas Artes de San Fernando (Royal Academy of Fine Arts of San Fernando) in Madrid, Spain in 1877. Alejo Valera, a Spanish painting teacher, took Luna as an apprentice and brought him to Rome where Luna created Las Damas Romanas in 1882. Skilled in the style of the Academy he was the first Filipino painter to win international recognition in Europe and the US.Luna spent six years in Rome from 1878 to 1884.

Category:Ancient Rome in art and culture


Las Damas Romanas

Prompt: Explain the abstract of this artwork, Las Damas Romanas.

Las Damas Romanas (literally, "The Roman Dames"), also known as The Roman Maidens, The Roman Women, or The Roman Ladies, is an oil on canvas painted in the style of Neo-Classicism by Juan Luna, one of the most famous Filipino painters of the Spanish period in the Philippines. It was painted by Luna when he was a student of the school of painting in the Real Academia de Bellas Artes de San Fernando (Royal Academy of Fine Arts of San Fernando) in Madrid, Spain in 1877. Alejo Valera, a Spanish painting teacher, took Luna as an apprentice and brought him to Rome where Luna created Las Damas Romanas in 1882. Skilled in the style of the Academy he was the first Filipino painter to win international recognition in Europe and the US.Luna spent six years in Rome from 1878 to 1884.

Category:Ancient Rome in art and culture


Las Damas Romanas

Prompt: How does Las Damas Romanas explain its abstract?

Las Damas Romanas (literally, "The Roman Dames"), also known as The Roman Maidens, The Roman Women, or The Roman Ladies, is an oil on canvas painted in the style of Neo-Classicism by Juan Luna, one of the most famous Filipino painters of the Spanish period in the Philippines. It was painted by Luna when he was a student of the school of painting in the Real Academia de Bellas Artes de San Fernando (Royal Academy of Fine Arts of San Fernando) in Madrid, Spain in 1877. Alejo Valera, a Spanish painting teacher, took Luna as an apprentice and brought him to Rome where Luna created Las Damas Romanas in 1882. Skilled in the style of the Academy he was the first Filipino painter to win international recognition in Europe and the US.Luna spent six years in Rome from 1878 to 1884.

Category:Ancient Rome in art and culture


Las Damas Romanas

Prompt: In Las Damas Romanas, how is the abstract discussed?

Las Damas Romanas (literally, "The Roman Dames"), also known as The Roman Maidens, The Roman Women, or The Roman Ladies, is an oil on canvas painted in the style of Neo-Classicism by Juan Luna, one of the most famous Filipino painters of the Spanish period in the Philippines. It was painted by Luna when he was a student of the school of painting in the Real Academia de Bellas Artes de San Fernando (Royal Academy of Fine Arts of San Fernando) in Madrid, Spain in 1877. Alejo Valera, a Spanish painting teacher, took Luna as an apprentice and brought him to Rome where Luna created Las Damas Romanas in 1882. Skilled in the style of the Academy he was the first Filipino painter to win international recognition in Europe and the US.Luna spent six years in Rome from 1878 to 1884.

Category:Ancient Rome in art and culture


Las Damas Romanas

Prompt: Focus on Las Damas Romanas and explain the Historical overview.

Las Damas Romanas is one of the early works of Luna as a painter that resurfaced in the past quarter of a century after being presumed to be either lost or missing.  Before its reappearance in Paris many years before 2008, it had been documented only as a title and as a listed work of Luna in the 1957 biography of Luna written by Carlos E. Da Silva.  The painting had also been documented through a black and white photograph from the files of Alfonso T. Ongpin, a historian and pre-war art dealer.  In 1980, the image from Ongpin was reprinted by Santiago Pilar in the book "Juan Luna: The Filipino As Painter".

Real Academia de Bellas Artes de San Fernando

Category:Ancient Rome in art and culture

Royal Academy of Fine Arts of San Fernando


Las Damas Romanas

Prompt: Explain the Historical overview of this artwork, Las Damas Romanas.

Las Damas Romanas is one of the early works of Luna as a painter that resurfaced in the past quarter of a century after being presumed to be either lost or missing.  Before its reappearance in Paris many years before 2008, it had been documented only as a title and as a listed work of Luna in the 1957 biography of Luna written by Carlos E. Da Silva.  The painting had also been documented through a black and white photograph from the files of Alfonso T. Ongpin, a historian and pre-war art dealer.  In 1980, the image from Ongpin was reprinted by Santiago Pilar in the book "Juan Luna: The Filipino As Painter".

Real Academia de Bellas Artes de San Fernando

Category:Ancient Rome in art and culture

Royal Academy of Fine Arts of San Fernando


Las Damas Romanas

Prompt: How does Las Damas Romanas explain its Historical overview?

Las Damas Romanas is one of the early works of Luna as a painter that resurfaced in the past quarter of a century after being presumed to be either lost or missing.  Before its reappearance in Paris many years before 2008, it had been documented only as a title and as a listed work of Luna in the 1957 biography of Luna written by Carlos E. Da Silva.  The painting had also been documented through a black and white photograph from the files of Alfonso T. Ongpin, a historian and pre-war art dealer.  In 1980, the image from Ongpin was reprinted by Santiago Pilar in the book "Juan Luna: The Filipino As Painter".

Real Academia de Bellas Artes de San Fernando

Category:Ancient Rome in art and culture

Royal Academy of Fine Arts of San Fernando


Las Damas Romanas

Prompt: In Las Damas Romanas, how is the Historical overview discussed?

Las Damas Romanas is one of the early works of Luna as a painter that resurfaced in the past quarter of a century after being presumed to be either lost or missing.  Before its reappearance in Paris many years before 2008, it had been documented only as a title and as a listed work of Luna in the 1957 biography of Luna written by Carlos E. Da Silva.  The painting had also been documented through a black and white photograph from the files of Alfonso T. Ongpin, a historian and pre-war art dealer.  In 1980, the image from Ongpin was reprinted by Santiago Pilar in the book "Juan Luna: The Filipino As Painter".

Real Academia de Bellas Artes de San Fernando

Category:Ancient Rome in art and culture

Royal Academy of Fine Arts of San Fernando


Las Damas Romanas

Prompt: Focus on Las Damas Romanas and explain the Description.

The concept for the 100 cm x 170 cm size painting was based by Luna on ancient Roman history.  It depicted a domestic scene in ancient Roman life, portraying two women lying on the steps of a house.  The hand of one woman was holding the reins of two pet dogs or hunting dogs, in order to prevent them from scaring away some doves.  The doves symbolized divinity  The background of the painting presented a shelf of artifacts.  To the left of the shelf was a shrine with a pediment shaped like a triangle.  In front of the pediment was a burner with a smoking incense.There are three major elements of Las Damas Romanas, namely the women, the dogs, and the doves.  Roman life involved having dogs because they were employed by the ancient Romans for hunting activities, guardians of the home and their property, and as pets.  In Luna's painting, the leashed pet dogs were acting as companions of women.  Doves, on the other hand, were animals that connote eroticism.  In relation to one of the women, there was a suggestion that the woman on the right with dark hair could be Maria de la Paz Pardo de Tavera.  The notion was discarded because Luna was unmarried when he painted Las Damas Romanas.Luna finished Las Damas Romanas after winning a silver medal for The Death of Cleopatra painting in 1881 and before obtaining a gold medal for the masterpiece Spoliarium in 1884 (both were presented during the Madrid Exposition during the years mentioned).  In 1886, Luna was awarded a Diploma of Honor at the Munich Art Exposition (also known as the Munich Salon) for painting Las Damas Romanas.  The masterpiece was a classic work painted in the highest conventions of the academic style, and it was a representative of the "abundant richness of life, with humankind", represented by women in the painting, being "in harmony with Nature".

Real Academia de Bellas Artes de San Fernando

Category:Ancient Rome in art and culture

Royal Academy of Fine Arts of San Fernando


Las Damas Romanas

Prompt: Explain the Description of this artwork, Las Damas Romanas.

The concept for the 100 cm x 170 cm size painting was based by Luna on ancient Roman history.  It depicted a domestic scene in ancient Roman life, portraying two women lying on the steps of a house.  The hand of one woman was holding the reins of two pet dogs or hunting dogs, in order to prevent them from scaring away some doves.  The doves symbolized divinity  The background of the painting presented a shelf of artifacts.  To the left of the shelf was a shrine with a pediment shaped like a triangle.  In front of the pediment was a burner with a smoking incense.There are three major elements of Las Damas Romanas, namely the women, the dogs, and the doves.  Roman life involved having dogs because they were employed by the ancient Romans for hunting activities, guardians of the home and their property, and as pets.  In Luna's painting, the leashed pet dogs were acting as companions of women.  Doves, on the other hand, were animals that connote eroticism.  In relation to one of the women, there was a suggestion that the woman on the right with dark hair could be Maria de la Paz Pardo de Tavera.  The notion was discarded because Luna was unmarried when he painted Las Damas Romanas.Luna finished Las Damas Romanas after winning a silver medal for The Death of Cleopatra painting in 1881 and before obtaining a gold medal for the masterpiece Spoliarium in 1884 (both were presented during the Madrid Exposition during the years mentioned).  In 1886, Luna was awarded a Diploma of Honor at the Munich Art Exposition (also known as the Munich Salon) for painting Las Damas Romanas.  The masterpiece was a classic work painted in the highest conventions of the academic style, and it was a representative of the "abundant richness of life, with humankind", represented by women in the painting, being "in harmony with Nature".

Real Academia de Bellas Artes de San Fernando

Category:Ancient Rome in art and culture

Royal Academy of Fine Arts of San Fernando


Las Damas Romanas

Prompt: How does Las Damas Romanas explain its Description?

The concept for the 100 cm x 170 cm size painting was based by Luna on ancient Roman history.  It depicted a domestic scene in ancient Roman life, portraying two women lying on the steps of a house.  The hand of one woman was holding the reins of two pet dogs or hunting dogs, in order to prevent them from scaring away some doves.  The doves symbolized divinity  The background of the painting presented a shelf of artifacts.  To the left of the shelf was a shrine with a pediment shaped like a triangle.  In front of the pediment was a burner with a smoking incense.There are three major elements of Las Damas Romanas, namely the women, the dogs, and the doves.  Roman life involved having dogs because they were employed by the ancient Romans for hunting activities, guardians of the home and their property, and as pets.  In Luna's painting, the leashed pet dogs were acting as companions of women.  Doves, on the other hand, were animals that connote eroticism.  In relation to one of the women, there was a suggestion that the woman on the right with dark hair could be Maria de la Paz Pardo de Tavera.  The notion was discarded because Luna was unmarried when he painted Las Damas Romanas.Luna finished Las Damas Romanas after winning a silver medal for The Death of Cleopatra painting in 1881 and before obtaining a gold medal for the masterpiece Spoliarium in 1884 (both were presented during the Madrid Exposition during the years mentioned).  In 1886, Luna was awarded a Diploma of Honor at the Munich Art Exposition (also known as the Munich Salon) for painting Las Damas Romanas.  The masterpiece was a classic work painted in the highest conventions of the academic style, and it was a representative of the "abundant richness of life, with humankind", represented by women in the painting, being "in harmony with Nature".

Real Academia de Bellas Artes de San Fernando

Category:Ancient Rome in art and culture

Royal Academy of Fine Arts of San Fernando


Las Damas Romanas

Prompt: In Las Damas Romanas, how is the Description discussed?

The concept for the 100 cm x 170 cm size painting was based by Luna on ancient Roman history.  It depicted a domestic scene in ancient Roman life, portraying two women lying on the steps of a house.  The hand of one woman was holding the reins of two pet dogs or hunting dogs, in order to prevent them from scaring away some doves.  The doves symbolized divinity  The background of the painting presented a shelf of artifacts.  To the left of the shelf was a shrine with a pediment shaped like a triangle.  In front of the pediment was a burner with a smoking incense.There are three major elements of Las Damas Romanas, namely the women, the dogs, and the doves.  Roman life involved having dogs because they were employed by the ancient Romans for hunting activities, guardians of the home and their property, and as pets.  In Luna's painting, the leashed pet dogs were acting as companions of women.  Doves, on the other hand, were animals that connote eroticism.  In relation to one of the women, there was a suggestion that the woman on the right with dark hair could be Maria de la Paz Pardo de Tavera.  The notion was discarded because Luna was unmarried when he painted Las Damas Romanas.Luna finished Las Damas Romanas after winning a silver medal for The Death of Cleopatra painting in 1881 and before obtaining a gold medal for the masterpiece Spoliarium in 1884 (both were presented during the Madrid Exposition during the years mentioned).  In 1886, Luna was awarded a Diploma of Honor at the Munich Art Exposition (also known as the Munich Salon) for painting Las Damas Romanas.  The masterpiece was a classic work painted in the highest conventions of the academic style, and it was a representative of the "abundant richness of life, with humankind", represented by women in the painting, being "in harmony with Nature".

Real Academia de Bellas Artes de San Fernando

Category:Ancient Rome in art and culture

Royal Academy of Fine Arts of San Fernando


Las Damas Romanas

Prompt: Focus on Las Damas Romanas and explain the Valuation.

Long thought lost or missing, the painting emerged in an estate sale outside Paris, France, before 2008.  During this art auction, the painting was originally priced between 10,000 and 20,000 euros (₱623,000 and ₱1.3 million), a range that rose to greater than 200,000 euros (₱12.4 million) when the painting was bought by a French art dealer.  The painting was auctioned once again on November 30, 2008, at Christie's in Hong Kong with an estimated value ranging from $1 million to $1.2 million, the equivalent of HK$8,000,000 to HK$10,000,000. The work sold for far less than the estimate, however, achieving $609,193, or HK$4,700,000, including buyer's premium.

Real Academia de Bellas Artes de San Fernando

Category:Ancient Rome in art and culture

Royal Academy of Fine Arts of San Fernando


Las Damas Romanas

Prompt: Explain the Valuation of this artwork, Las Damas Romanas.

Long thought lost or missing, the painting emerged in an estate sale outside Paris, France, before 2008.  During this art auction, the painting was originally priced between 10,000 and 20,000 euros (₱623,000 and ₱1.3 million), a range that rose to greater than 200,000 euros (₱12.4 million) when the painting was bought by a French art dealer.  The painting was auctioned once again on November 30, 2008, at Christie's in Hong Kong with an estimated value ranging from $1 million to $1.2 million, the equivalent of HK$8,000,000 to HK$10,000,000. The work sold for far less than the estimate, however, achieving $609,193, or HK$4,700,000, including buyer's premium.

Real Academia de Bellas Artes de San Fernando

Category:Ancient Rome in art and culture

Royal Academy of Fine Arts of San Fernando


Las Damas Romanas

Prompt: How does Las Damas Romanas explain its Valuation?

Long thought lost or missing, the painting emerged in an estate sale outside Paris, France, before 2008.  During this art auction, the painting was originally priced between 10,000 and 20,000 euros (₱623,000 and ₱1.3 million), a range that rose to greater than 200,000 euros (₱12.4 million) when the painting was bought by a French art dealer.  The painting was auctioned once again on November 30, 2008, at Christie's in Hong Kong with an estimated value ranging from $1 million to $1.2 million, the equivalent of HK$8,000,000 to HK$10,000,000. The work sold for far less than the estimate, however, achieving $609,193, or HK$4,700,000, including buyer's premium.

Real Academia de Bellas Artes de San Fernando

Category:Ancient Rome in art and culture

Royal Academy of Fine Arts of San Fernando


Las Damas Romanas

Prompt: In Las Damas Romanas, how is the Valuation discussed?

Long thought lost or missing, the painting emerged in an estate sale outside Paris, France, before 2008.  During this art auction, the painting was originally priced between 10,000 and 20,000 euros (₱623,000 and ₱1.3 million), a range that rose to greater than 200,000 euros (₱12.4 million) when the painting was bought by a French art dealer.  The painting was auctioned once again on November 30, 2008, at Christie's in Hong Kong with an estimated value ranging from $1 million to $1.2 million, the equivalent of HK$8,000,000 to HK$10,000,000. The work sold for far less than the estimate, however, achieving $609,193, or HK$4,700,000, including buyer's premium.

Real Academia de Bellas Artes de San Fernando

Category:Ancient Rome in art and culture

Royal Academy of Fine Arts of San Fernando


A Sprig of Asparagus

Prompt: Focus on A Sprig of Asparagus and explain the abstract.

A Sprig of Asparagus (L'Asperge) is an 1880 oil on canvas painting by Édouard Manet, signed at the top right. It is now in the Musée d'Orsay.Earlier in 1880 the art collector Charles Ephrussi had commissioned Manet to paint A Bundle of Asapragus for 800 francs. On receiving the work he gave the artist 1000 francs instead and so Manet decided to paint a smaller second work now known as A Sprig of Asparagus. He sent this second work to Ephrussi with a note reading "There was one [sprig] missing from your bundle."The painting is referenced in Sheila Heti's novels How Should A Person Be? and Pure Color. She has called it her favorite painting. Both paintings are mentioned in the roman The Hare with Amber Eyes. A Hidden Inheritance of Edmund de Waal. Charles Ephrussi and Edmund de Waal were relatives.

File:Edouard Manet Bunch of Asparagus.jpg

The companion piece ''[[A Bundle of Asparagus


A Sprig of Asparagus

Prompt: Explain the abstract of this artwork, A Sprig of Asparagus.

A Sprig of Asparagus (L'Asperge) is an 1880 oil on canvas painting by Édouard Manet, signed at the top right. It is now in the Musée d'Orsay.Earlier in 1880 the art collector Charles Ephrussi had commissioned Manet to paint A Bundle of Asapragus for 800 francs. On receiving the work he gave the artist 1000 francs instead and so Manet decided to paint a smaller second work now known as A Sprig of Asparagus. He sent this second work to Ephrussi with a note reading "There was one [sprig] missing from your bundle."The painting is referenced in Sheila Heti's novels How Should A Person Be? and Pure Color. She has called it her favorite painting. Both paintings are mentioned in the roman The Hare with Amber Eyes. A Hidden Inheritance of Edmund de Waal. Charles Ephrussi and Edmund de Waal were relatives.

File:Edouard Manet Bunch of Asparagus.jpg

The companion piece ''[[A Bundle of Asparagus


A Sprig of Asparagus

Prompt: How does A Sprig of Asparagus explain its abstract?

A Sprig of Asparagus (L'Asperge) is an 1880 oil on canvas painting by Édouard Manet, signed at the top right. It is now in the Musée d'Orsay.Earlier in 1880 the art collector Charles Ephrussi had commissioned Manet to paint A Bundle of Asapragus for 800 francs. On receiving the work he gave the artist 1000 francs instead and so Manet decided to paint a smaller second work now known as A Sprig of Asparagus. He sent this second work to Ephrussi with a note reading "There was one [sprig] missing from your bundle."The painting is referenced in Sheila Heti's novels How Should A Person Be? and Pure Color. She has called it her favorite painting. Both paintings are mentioned in the roman The Hare with Amber Eyes. A Hidden Inheritance of Edmund de Waal. Charles Ephrussi and Edmund de Waal were relatives.

File:Edouard Manet Bunch of Asparagus.jpg

The companion piece ''[[A Bundle of Asparagus


A Sprig of Asparagus

Prompt: In A Sprig of Asparagus, how is the abstract discussed?

A Sprig of Asparagus (L'Asperge) is an 1880 oil on canvas painting by Édouard Manet, signed at the top right. It is now in the Musée d'Orsay.Earlier in 1880 the art collector Charles Ephrussi had commissioned Manet to paint A Bundle of Asapragus for 800 francs. On receiving the work he gave the artist 1000 francs instead and so Manet decided to paint a smaller second work now known as A Sprig of Asparagus. He sent this second work to Ephrussi with a note reading "There was one [sprig] missing from your bundle."The painting is referenced in Sheila Heti's novels How Should A Person Be? and Pure Color. She has called it her favorite painting. Both paintings are mentioned in the roman The Hare with Amber Eyes. A Hidden Inheritance of Edmund de Waal. Charles Ephrussi and Edmund de Waal were relatives.

File:Edouard Manet Bunch of Asparagus.jpg

The companion piece ''[[A Bundle of Asparagus


Parade de cirque

Prompt: Focus on Parade de cirque and explain the abstract.

Parade de cirque (English: Circus Sideshow) is an 1887-88 Neo-Impressionist painting by Georges Seurat. It was first exhibited at the 1888 Salon de la Société des Artistes Indépendants (titled Parade de cirque, cat. no. 614) in Paris, where it became one of Seurat's least admired works. Parade de cirque represents the sideshow (or parade) of the Circus Corvi at place de la Nation, and was his first depiction of a nocturnal scene, and first painting of popular entertainment. Seurat worked on the theme for nearly six years before completing the final painting.Art historian Alfred H. Barr Jr. described Parade de cirque as one of Seurat's most important paintings, its 'formality' and 'symmetry' as highly innovative, and placed it as "the most geometric in design as well as the most mysterious in sentiment" of Seurat's major canvases.Circus Sideshow influenced the Fauves, Cubists, Futurists and Orphists. It is located at the Metropolitan Museum of Art in New York (Bequest of Stephen C. Clark, 1960, accession number: 61.101.17, Gallery 826).

A Sunday Afternoon on the Island of La Grande Jatte

Category:Paintings in the Metropolitan Museum of Art

File:Fête de Neuilly, Le Cirque Corvi, c.1900.jpg

File:Georges Seurat, Parade de cirque, with golden mean overlay.jpg

''Parade de cirque'' with [[Golden ratio

File:Fête de Neuilly-sur-Seine, Le Cirque Corvi, postcard c. 1900.jpg

Georges Seurat, 1884-1886, ''[[Models (painting)

''Parade de cirque'', detail of the central figure

File:Georges Seurat, Parade de cirque, detail of central figure.jpg

File:Georges Seurat, 1891, Le Cirque (The Circus), oil on canvas, 185 x 152 cm, Musée d'Orsay.jpg


Parade de cirque

Prompt: Explain the abstract of this artwork, Parade de cirque.

Parade de cirque (English: Circus Sideshow) is an 1887-88 Neo-Impressionist painting by Georges Seurat. It was first exhibited at the 1888 Salon de la Société des Artistes Indépendants (titled Parade de cirque, cat. no. 614) in Paris, where it became one of Seurat's least admired works. Parade de cirque represents the sideshow (or parade) of the Circus Corvi at place de la Nation, and was his first depiction of a nocturnal scene, and first painting of popular entertainment. Seurat worked on the theme for nearly six years before completing the final painting.Art historian Alfred H. Barr Jr. described Parade de cirque as one of Seurat's most important paintings, its 'formality' and 'symmetry' as highly innovative, and placed it as "the most geometric in design as well as the most mysterious in sentiment" of Seurat's major canvases.Circus Sideshow influenced the Fauves, Cubists, Futurists and Orphists. It is located at the Metropolitan Museum of Art in New York (Bequest of Stephen C. Clark, 1960, accession number: 61.101.17, Gallery 826).

A Sunday Afternoon on the Island of La Grande Jatte

Category:Paintings in the Metropolitan Museum of Art

File:Fête de Neuilly, Le Cirque Corvi, c.1900.jpg

File:Georges Seurat, Parade de cirque, with golden mean overlay.jpg

''Parade de cirque'' with [[Golden ratio

File:Fête de Neuilly-sur-Seine, Le Cirque Corvi, postcard c. 1900.jpg

Georges Seurat, 1884-1886, ''[[Models (painting)

''Parade de cirque'', detail of the central figure

File:Georges Seurat, Parade de cirque, detail of central figure.jpg

File:Georges Seurat, 1891, Le Cirque (The Circus), oil on canvas, 185 x 152 cm, Musée d'Orsay.jpg


Parade de cirque

Prompt: How does Parade de cirque explain its abstract?

Parade de cirque (English: Circus Sideshow) is an 1887-88 Neo-Impressionist painting by Georges Seurat. It was first exhibited at the 1888 Salon de la Société des Artistes Indépendants (titled Parade de cirque, cat. no. 614) in Paris, where it became one of Seurat's least admired works. Parade de cirque represents the sideshow (or parade) of the Circus Corvi at place de la Nation, and was his first depiction of a nocturnal scene, and first painting of popular entertainment. Seurat worked on the theme for nearly six years before completing the final painting.Art historian Alfred H. Barr Jr. described Parade de cirque as one of Seurat's most important paintings, its 'formality' and 'symmetry' as highly innovative, and placed it as "the most geometric in design as well as the most mysterious in sentiment" of Seurat's major canvases.Circus Sideshow influenced the Fauves, Cubists, Futurists and Orphists. It is located at the Metropolitan Museum of Art in New York (Bequest of Stephen C. Clark, 1960, accession number: 61.101.17, Gallery 826).

A Sunday Afternoon on the Island of La Grande Jatte

Category:Paintings in the Metropolitan Museum of Art

File:Fête de Neuilly, Le Cirque Corvi, c.1900.jpg

File:Georges Seurat, Parade de cirque, with golden mean overlay.jpg

''Parade de cirque'' with [[Golden ratio

File:Fête de Neuilly-sur-Seine, Le Cirque Corvi, postcard c. 1900.jpg

Georges Seurat, 1884-1886, ''[[Models (painting)

''Parade de cirque'', detail of the central figure

File:Georges Seurat, Parade de cirque, detail of central figure.jpg

File:Georges Seurat, 1891, Le Cirque (The Circus), oil on canvas, 185 x 152 cm, Musée d'Orsay.jpg


Parade de cirque

Prompt: In Parade de cirque, how is the abstract discussed?

Parade de cirque (English: Circus Sideshow) is an 1887-88 Neo-Impressionist painting by Georges Seurat. It was first exhibited at the 1888 Salon de la Société des Artistes Indépendants (titled Parade de cirque, cat. no. 614) in Paris, where it became one of Seurat's least admired works. Parade de cirque represents the sideshow (or parade) of the Circus Corvi at place de la Nation, and was his first depiction of a nocturnal scene, and first painting of popular entertainment. Seurat worked on the theme for nearly six years before completing the final painting.Art historian Alfred H. Barr Jr. described Parade de cirque as one of Seurat's most important paintings, its 'formality' and 'symmetry' as highly innovative, and placed it as "the most geometric in design as well as the most mysterious in sentiment" of Seurat's major canvases.Circus Sideshow influenced the Fauves, Cubists, Futurists and Orphists. It is located at the Metropolitan Museum of Art in New York (Bequest of Stephen C. Clark, 1960, accession number: 61.101.17, Gallery 826).

A Sunday Afternoon on the Island of La Grande Jatte

Category:Paintings in the Metropolitan Museum of Art

File:Fête de Neuilly, Le Cirque Corvi, c.1900.jpg

File:Georges Seurat, Parade de cirque, with golden mean overlay.jpg

''Parade de cirque'' with [[Golden ratio

File:Fête de Neuilly-sur-Seine, Le Cirque Corvi, postcard c. 1900.jpg

Georges Seurat, 1884-1886, ''[[Models (painting)

''Parade de cirque'', detail of the central figure

File:Georges Seurat, Parade de cirque, detail of central figure.jpg

File:Georges Seurat, 1891, Le Cirque (The Circus), oil on canvas, 185 x 152 cm, Musée d'Orsay.jpg


Parade de cirque

Prompt: Focus on Parade de cirque and explain the Description.

Circus Sideshow is a large oil painting on canvas measuring 99.7 × 149.9 centimetres (39.3 × 59.0 in). Painted in the Divisionist style, the work employs pointillist dots of color (primarily violet-gray, blue-gray, orange, and green) and a play of lines governed by rules whose laws Seurat had studied. It depicts immobile figures outdoors under artificial lighting at the sideshow of the Circus Corvi at place de la Nation, a working-class quarter in eastern Paris. A row of cornet and trombone players in solemn formation are seen under the unreal evening lights of a parade. The work is dominated by a monotony of horizontal and vertical lines, suggesting the rhythms of Egyptian reliefs and frescoes. Though rather than indicating distance as Egyptian art (by changing scale), or classically (by foreshortening), Seurat establishes the position of his subjects through lighting. Those in the foreground are unlit, painted in dark blue, while those behind the gas jets are brilliantly lit.Seurat's view of this scene is so radically flattened that it is difficult to identify the composition's multiple levels. The golden section appears to govern its geometric structure, though modern consensus among art historians is that Seurat never used this divine proportion in his work.The final study of Parade, executed prior to the oil on canvas, is divided horizontally into fourths and vertically into sixths. The 4 : 6 ratio corresponds to the dimensions of the canvas, which is one and one-half times wider than its vertical dimension. An additional vertical axes was drawn by Seurat, which neither corresponds to the location of the figures, nor to the architectural construction of the work; neither do these axes correspond precisely to the golden section, 1 : 1.6, as might have been expected. Rather, they correspond to basic mathematical divisions (simple ratios that appear to approximate the golden section), as noted by Seurat with citations from Charles Henry.The entrance of the circus tent consists of ticket window and doors at the center of a platform atop six steps. On both sides of the doors (here painted green), musicians and acrobats perform a sideshow on the balustraded platform to entice passersby. Those interested in purchasing tickets from the ticket seller—the man and woman toward the bottom right of the painting—climb the central stairs. Ticket holders queue parallel to the sideshow stage. The diagonal line behind the trombonist is the handrail for the subsidiary stairs. A woman with a young girl is buying a ticket on the platform to the right of the ringmaster. Just as the musicians toward the left, they are immersed in the orange glow of nine gas jets (each possessing a perceptible blue-violet aura) that illuminate the platform. Five yellow-white globes of interior lamps are visible through the ticket windows. The conspicuous tree to the left bares the presence of a human figure.A boy with a ruffled collar stands performing in front of the platform at the top of the central stairs. Despite appearances, the door behind him is on a different plane from the ticket window. The rectangular structure behind the trombonist (to the right), defines the edge of the platform and shows the admission price. Above the poster is the gas pipe support beam. The trombonist stands shadowed on a pedestal (left of the central stairs) several meters in front of the platform, illuminated from the rear. While the tuba player is faceless, the red faces of the clarinetist and cornet players show that they stand on the gaslit platform.A 1990 examination of Circus Sideshow at the Metropolitan Museum of Art laboratory under light similar in color to that given off by gas lamps, revealed an "extraordinary transformation", writes art historian Robert Herbert: "Under the colored light the faces of the figures on the platform no longer appeared unnaturally orange but flesh color, the shadows on the trombonist and on the spectators were no longer bright ultramarine blue but black, and the entire painting glowed as if it were lit from behind, which, of course, is precisely the effect of contre-lumiere on which Seurat predicated the picture."

A Sunday Afternoon on the Island of La Grande Jatte

Category:Paintings in the Metropolitan Museum of Art

Salon de la Société des Artistes Indépendants

File:Fête de Neuilly, Le Cirque Corvi, c.1900.jpg

File:Georges Seurat, Parade de cirque, with golden mean overlay.jpg

''Parade de cirque'' with [[Golden ratio

File:Fête de Neuilly-sur-Seine, Le Cirque Corvi, postcard c. 1900.jpg

Georges Seurat, 1884-1886, ''[[Models (painting)

''Parade de cirque'', detail of the central figure

File:Georges Seurat, Parade de cirque, detail of central figure.jpg

File:Georges Seurat, 1891, Le Cirque (The Circus), oil on canvas, 185 x 152 cm, Musée d'Orsay.jpg


Parade de cirque

Prompt: Explain the Description of this artwork, Parade de cirque.

Circus Sideshow is a large oil painting on canvas measuring 99.7 × 149.9 centimetres (39.3 × 59.0 in). Painted in the Divisionist style, the work employs pointillist dots of color (primarily violet-gray, blue-gray, orange, and green) and a play of lines governed by rules whose laws Seurat had studied. It depicts immobile figures outdoors under artificial lighting at the sideshow of the Circus Corvi at place de la Nation, a working-class quarter in eastern Paris. A row of cornet and trombone players in solemn formation are seen under the unreal evening lights of a parade. The work is dominated by a monotony of horizontal and vertical lines, suggesting the rhythms of Egyptian reliefs and frescoes. Though rather than indicating distance as Egyptian art (by changing scale), or classically (by foreshortening), Seurat establishes the position of his subjects through lighting. Those in the foreground are unlit, painted in dark blue, while those behind the gas jets are brilliantly lit.Seurat's view of this scene is so radically flattened that it is difficult to identify the composition's multiple levels. The golden section appears to govern its geometric structure, though modern consensus among art historians is that Seurat never used this divine proportion in his work.The final study of Parade, executed prior to the oil on canvas, is divided horizontally into fourths and vertically into sixths. The 4 : 6 ratio corresponds to the dimensions of the canvas, which is one and one-half times wider than its vertical dimension. An additional vertical axes was drawn by Seurat, which neither corresponds to the location of the figures, nor to the architectural construction of the work; neither do these axes correspond precisely to the golden section, 1 : 1.6, as might have been expected. Rather, they correspond to basic mathematical divisions (simple ratios that appear to approximate the golden section), as noted by Seurat with citations from Charles Henry.The entrance of the circus tent consists of ticket window and doors at the center of a platform atop six steps. On both sides of the doors (here painted green), musicians and acrobats perform a sideshow on the balustraded platform to entice passersby. Those interested in purchasing tickets from the ticket seller—the man and woman toward the bottom right of the painting—climb the central stairs. Ticket holders queue parallel to the sideshow stage. The diagonal line behind the trombonist is the handrail for the subsidiary stairs. A woman with a young girl is buying a ticket on the platform to the right of the ringmaster. Just as the musicians toward the left, they are immersed in the orange glow of nine gas jets (each possessing a perceptible blue-violet aura) that illuminate the platform. Five yellow-white globes of interior lamps are visible through the ticket windows. The conspicuous tree to the left bares the presence of a human figure.A boy with a ruffled collar stands performing in front of the platform at the top of the central stairs. Despite appearances, the door behind him is on a different plane from the ticket window. The rectangular structure behind the trombonist (to the right), defines the edge of the platform and shows the admission price. Above the poster is the gas pipe support beam. The trombonist stands shadowed on a pedestal (left of the central stairs) several meters in front of the platform, illuminated from the rear. While the tuba player is faceless, the red faces of the clarinetist and cornet players show that they stand on the gaslit platform.A 1990 examination of Circus Sideshow at the Metropolitan Museum of Art laboratory under light similar in color to that given off by gas lamps, revealed an "extraordinary transformation", writes art historian Robert Herbert: "Under the colored light the faces of the figures on the platform no longer appeared unnaturally orange but flesh color, the shadows on the trombonist and on the spectators were no longer bright ultramarine blue but black, and the entire painting glowed as if it were lit from behind, which, of course, is precisely the effect of contre-lumiere on which Seurat predicated the picture."

A Sunday Afternoon on the Island of La Grande Jatte

Category:Paintings in the Metropolitan Museum of Art

Salon de la Société des Artistes Indépendants

File:Fête de Neuilly, Le Cirque Corvi, c.1900.jpg

File:Georges Seurat, Parade de cirque, with golden mean overlay.jpg

''Parade de cirque'' with [[Golden ratio

File:Fête de Neuilly-sur-Seine, Le Cirque Corvi, postcard c. 1900.jpg

Georges Seurat, 1884-1886, ''[[Models (painting)

''Parade de cirque'', detail of the central figure

File:Georges Seurat, Parade de cirque, detail of central figure.jpg

File:Georges Seurat, 1891, Le Cirque (The Circus), oil on canvas, 185 x 152 cm, Musée d'Orsay.jpg


Parade de cirque

Prompt: How does Parade de cirque explain its Description?

Circus Sideshow is a large oil painting on canvas measuring 99.7 × 149.9 centimetres (39.3 × 59.0 in). Painted in the Divisionist style, the work employs pointillist dots of color (primarily violet-gray, blue-gray, orange, and green) and a play of lines governed by rules whose laws Seurat had studied. It depicts immobile figures outdoors under artificial lighting at the sideshow of the Circus Corvi at place de la Nation, a working-class quarter in eastern Paris. A row of cornet and trombone players in solemn formation are seen under the unreal evening lights of a parade. The work is dominated by a monotony of horizontal and vertical lines, suggesting the rhythms of Egyptian reliefs and frescoes. Though rather than indicating distance as Egyptian art (by changing scale), or classically (by foreshortening), Seurat establishes the position of his subjects through lighting. Those in the foreground are unlit, painted in dark blue, while those behind the gas jets are brilliantly lit.Seurat's view of this scene is so radically flattened that it is difficult to identify the composition's multiple levels. The golden section appears to govern its geometric structure, though modern consensus among art historians is that Seurat never used this divine proportion in his work.The final study of Parade, executed prior to the oil on canvas, is divided horizontally into fourths and vertically into sixths. The 4 : 6 ratio corresponds to the dimensions of the canvas, which is one and one-half times wider than its vertical dimension. An additional vertical axes was drawn by Seurat, which neither corresponds to the location of the figures, nor to the architectural construction of the work; neither do these axes correspond precisely to the golden section, 1 : 1.6, as might have been expected. Rather, they correspond to basic mathematical divisions (simple ratios that appear to approximate the golden section), as noted by Seurat with citations from Charles Henry.The entrance of the circus tent consists of ticket window and doors at the center of a platform atop six steps. On both sides of the doors (here painted green), musicians and acrobats perform a sideshow on the balustraded platform to entice passersby. Those interested in purchasing tickets from the ticket seller—the man and woman toward the bottom right of the painting—climb the central stairs. Ticket holders queue parallel to the sideshow stage. The diagonal line behind the trombonist is the handrail for the subsidiary stairs. A woman with a young girl is buying a ticket on the platform to the right of the ringmaster. Just as the musicians toward the left, they are immersed in the orange glow of nine gas jets (each possessing a perceptible blue-violet aura) that illuminate the platform. Five yellow-white globes of interior lamps are visible through the ticket windows. The conspicuous tree to the left bares the presence of a human figure.A boy with a ruffled collar stands performing in front of the platform at the top of the central stairs. Despite appearances, the door behind him is on a different plane from the ticket window. The rectangular structure behind the trombonist (to the right), defines the edge of the platform and shows the admission price. Above the poster is the gas pipe support beam. The trombonist stands shadowed on a pedestal (left of the central stairs) several meters in front of the platform, illuminated from the rear. While the tuba player is faceless, the red faces of the clarinetist and cornet players show that they stand on the gaslit platform.A 1990 examination of Circus Sideshow at the Metropolitan Museum of Art laboratory under light similar in color to that given off by gas lamps, revealed an "extraordinary transformation", writes art historian Robert Herbert: "Under the colored light the faces of the figures on the platform no longer appeared unnaturally orange but flesh color, the shadows on the trombonist and on the spectators were no longer bright ultramarine blue but black, and the entire painting glowed as if it were lit from behind, which, of course, is precisely the effect of contre-lumiere on which Seurat predicated the picture."

A Sunday Afternoon on the Island of La Grande Jatte

Category:Paintings in the Metropolitan Museum of Art

Salon de la Société des Artistes Indépendants

File:Fête de Neuilly, Le Cirque Corvi, c.1900.jpg

File:Georges Seurat, Parade de cirque, with golden mean overlay.jpg

''Parade de cirque'' with [[Golden ratio

File:Fête de Neuilly-sur-Seine, Le Cirque Corvi, postcard c. 1900.jpg

Georges Seurat, 1884-1886, ''[[Models (painting)

''Parade de cirque'', detail of the central figure

File:Georges Seurat, Parade de cirque, detail of central figure.jpg

File:Georges Seurat, 1891, Le Cirque (The Circus), oil on canvas, 185 x 152 cm, Musée d'Orsay.jpg