Brick Factory at Tortosa

Prompt: Focus on Brick Factory at Tortosa and explain the Description.

Picasso painted Brick Factory at Tortosa using oils on canvas. The painting measures 50.7 cm x 60.2 cm. The image depicts a factory which was an unusual subject for the period, as it departed from the typical 19th century landscapes of distant smokestacks. In this painting Picasso reduced the factory and its chimney to rough geometric shapes, simplifying the forms to almost unrecognisable objects. He conveyed the summer heat and dryness of the landscape by including a grey sky and landscape in the background. The volumes of the structure are deliberately sketchy, presented using grey and orange planes, rather than realistic external facades. The shapes of the building have been presented in a way that is neither neat or regular. Picasso intended to create an abstract image that is difficult to logically describe.In his book, Picasso: Architecture and Vertigo, Christopher Green remarked that the factory and palm trees depicted in the painting almost certainly did not exist in real life. John Richardson suggested that the palm trees in the painting may have been a series of olive presses known by locals as "the factory". Further to this suggestion of an invented factory, Roland Penrose had recorded a meeting with Manuel Pallarés, who told him that the factory was an invention and did not exist in that location. Green goes on to suggest that Picasso may have been depicting a brickworks outside Tortosa or even the factories and palm trees of Barcelona. He opines that this depiction of the factory can be seen as a representation of the modernising view of Catalonia or of modernity in opposition to nature.

Category:Paintings in the Hermitage Museum


Brick Factory at Tortosa

Prompt: Explain the Description of this artwork, Brick Factory at Tortosa.

Picasso painted Brick Factory at Tortosa using oils on canvas. The painting measures 50.7 cm x 60.2 cm. The image depicts a factory which was an unusual subject for the period, as it departed from the typical 19th century landscapes of distant smokestacks. In this painting Picasso reduced the factory and its chimney to rough geometric shapes, simplifying the forms to almost unrecognisable objects. He conveyed the summer heat and dryness of the landscape by including a grey sky and landscape in the background. The volumes of the structure are deliberately sketchy, presented using grey and orange planes, rather than realistic external facades. The shapes of the building have been presented in a way that is neither neat or regular. Picasso intended to create an abstract image that is difficult to logically describe.In his book, Picasso: Architecture and Vertigo, Christopher Green remarked that the factory and palm trees depicted in the painting almost certainly did not exist in real life. John Richardson suggested that the palm trees in the painting may have been a series of olive presses known by locals as "the factory". Further to this suggestion of an invented factory, Roland Penrose had recorded a meeting with Manuel Pallarés, who told him that the factory was an invention and did not exist in that location. Green goes on to suggest that Picasso may have been depicting a brickworks outside Tortosa or even the factories and palm trees of Barcelona. He opines that this depiction of the factory can be seen as a representation of the modernising view of Catalonia or of modernity in opposition to nature.

Category:Paintings in the Hermitage Museum


Brick Factory at Tortosa

Prompt: How does Brick Factory at Tortosa explain its Description?

Picasso painted Brick Factory at Tortosa using oils on canvas. The painting measures 50.7 cm x 60.2 cm. The image depicts a factory which was an unusual subject for the period, as it departed from the typical 19th century landscapes of distant smokestacks. In this painting Picasso reduced the factory and its chimney to rough geometric shapes, simplifying the forms to almost unrecognisable objects. He conveyed the summer heat and dryness of the landscape by including a grey sky and landscape in the background. The volumes of the structure are deliberately sketchy, presented using grey and orange planes, rather than realistic external facades. The shapes of the building have been presented in a way that is neither neat or regular. Picasso intended to create an abstract image that is difficult to logically describe.In his book, Picasso: Architecture and Vertigo, Christopher Green remarked that the factory and palm trees depicted in the painting almost certainly did not exist in real life. John Richardson suggested that the palm trees in the painting may have been a series of olive presses known by locals as "the factory". Further to this suggestion of an invented factory, Roland Penrose had recorded a meeting with Manuel Pallarés, who told him that the factory was an invention and did not exist in that location. Green goes on to suggest that Picasso may have been depicting a brickworks outside Tortosa or even the factories and palm trees of Barcelona. He opines that this depiction of the factory can be seen as a representation of the modernising view of Catalonia or of modernity in opposition to nature.

Category:Paintings in the Hermitage Museum


Brick Factory at Tortosa

Prompt: In Brick Factory at Tortosa, how is the Description discussed?

Picasso painted Brick Factory at Tortosa using oils on canvas. The painting measures 50.7 cm x 60.2 cm. The image depicts a factory which was an unusual subject for the period, as it departed from the typical 19th century landscapes of distant smokestacks. In this painting Picasso reduced the factory and its chimney to rough geometric shapes, simplifying the forms to almost unrecognisable objects. He conveyed the summer heat and dryness of the landscape by including a grey sky and landscape in the background. The volumes of the structure are deliberately sketchy, presented using grey and orange planes, rather than realistic external facades. The shapes of the building have been presented in a way that is neither neat or regular. Picasso intended to create an abstract image that is difficult to logically describe.In his book, Picasso: Architecture and Vertigo, Christopher Green remarked that the factory and palm trees depicted in the painting almost certainly did not exist in real life. John Richardson suggested that the palm trees in the painting may have been a series of olive presses known by locals as "the factory". Further to this suggestion of an invented factory, Roland Penrose had recorded a meeting with Manuel Pallarés, who told him that the factory was an invention and did not exist in that location. Green goes on to suggest that Picasso may have been depicting a brickworks outside Tortosa or even the factories and palm trees of Barcelona. He opines that this depiction of the factory can be seen as a representation of the modernising view of Catalonia or of modernity in opposition to nature.

Category:Paintings in the Hermitage Museum


Brick Factory at Tortosa

Prompt: Focus on Brick Factory at Tortosa and explain the Significance and legacy.

Jonathan Jones of The Guardian called the work "formidable" and viewed the painting as "an experiment in how brutally you can reduce, simplify, solidify and abstract forms and still produce a picture that is not simply recognisable, but profoundly full of life."Laurent Le Bon, Chairman of the Musée Picasso in Paris, remarked on the importance of this period and location in relation to Picasso's development as an artist. "The artist did not travel much, but here we can see how he revolutionised the way the world is represented through art.[...]This is where the artist found a different way of seeing things."

Category:Paintings in the Hermitage Museum


Brick Factory at Tortosa

Prompt: Explain the Significance and legacy of this artwork, Brick Factory at Tortosa.

Jonathan Jones of The Guardian called the work "formidable" and viewed the painting as "an experiment in how brutally you can reduce, simplify, solidify and abstract forms and still produce a picture that is not simply recognisable, but profoundly full of life."Laurent Le Bon, Chairman of the Musée Picasso in Paris, remarked on the importance of this period and location in relation to Picasso's development as an artist. "The artist did not travel much, but here we can see how he revolutionised the way the world is represented through art.[...]This is where the artist found a different way of seeing things."

Category:Paintings in the Hermitage Museum


Brick Factory at Tortosa

Prompt: How does Brick Factory at Tortosa explain its Significance and legacy?

Jonathan Jones of The Guardian called the work "formidable" and viewed the painting as "an experiment in how brutally you can reduce, simplify, solidify and abstract forms and still produce a picture that is not simply recognisable, but profoundly full of life."Laurent Le Bon, Chairman of the Musée Picasso in Paris, remarked on the importance of this period and location in relation to Picasso's development as an artist. "The artist did not travel much, but here we can see how he revolutionised the way the world is represented through art.[...]This is where the artist found a different way of seeing things."

Category:Paintings in the Hermitage Museum


Brick Factory at Tortosa

Prompt: In Brick Factory at Tortosa, how is the Significance and legacy discussed?

Jonathan Jones of The Guardian called the work "formidable" and viewed the painting as "an experiment in how brutally you can reduce, simplify, solidify and abstract forms and still produce a picture that is not simply recognisable, but profoundly full of life."Laurent Le Bon, Chairman of the Musée Picasso in Paris, remarked on the importance of this period and location in relation to Picasso's development as an artist. "The artist did not travel much, but here we can see how he revolutionised the way the world is represented through art.[...]This is where the artist found a different way of seeing things."

Category:Paintings in the Hermitage Museum


Brick Factory at Tortosa

Prompt: Focus on Brick Factory at Tortosa and explain the Provenance.

The painting was originally in the collection of Sergei Shchukin. It was acquired by the  State Museum of New Western Art in Moscow and then transferred to The State Hermitage Museum in 1948.

Category:Paintings in the Hermitage Museum


Brick Factory at Tortosa

Prompt: Explain the Provenance of this artwork, Brick Factory at Tortosa.

The painting was originally in the collection of Sergei Shchukin. It was acquired by the  State Museum of New Western Art in Moscow and then transferred to The State Hermitage Museum in 1948.

Category:Paintings in the Hermitage Museum


Brick Factory at Tortosa

Prompt: How does Brick Factory at Tortosa explain its Provenance?

The painting was originally in the collection of Sergei Shchukin. It was acquired by the  State Museum of New Western Art in Moscow and then transferred to The State Hermitage Museum in 1948.

Category:Paintings in the Hermitage Museum


Brick Factory at Tortosa

Prompt: In Brick Factory at Tortosa, how is the Provenance discussed?

The painting was originally in the collection of Sergei Shchukin. It was acquired by the  State Museum of New Western Art in Moscow and then transferred to The State Hermitage Museum in 1948.

Category:Paintings in the Hermitage Museum


The Wounded Cuirassier

Prompt: Focus on The Wounded Cuirassier and explain the abstract.

The Wounded Cuirassier (French: Le Cuirassier blessé quittant le feu) is an oil painting of a single anonymous soldier descending a slope with his nervous horse by the French Romantic painter and lithographer Théodore Géricault (1791–1824). In this 1814 Salon entry, Géricault decided to turn away from scenes of heroism in favor of a subject that is on the losing side of the battle. On display in the aftermath of France's disastrous military campaign in Russia, this life-size painting captured the feeling of a nation in defeat. There are no visible wounds on the figure, and the title has sometimes been interpreted to refer to soldier's injured pride. The painting stood in stark contrast with Géricault's Charging Chasseur, as it didn't focus on glory or the spectacle of battle. Only his Signboard of a Hoofsmith, which is currently in a private collection, bears any resemblance in form or function to this painting.The final salon version of The Wounded Cuirassier is at the Musée du Louvre and the smaller, study version, is located at the Brooklyn Museum.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


The Wounded Cuirassier

Prompt: Explain the abstract of this artwork, The Wounded Cuirassier.

The Wounded Cuirassier (French: Le Cuirassier blessé quittant le feu) is an oil painting of a single anonymous soldier descending a slope with his nervous horse by the French Romantic painter and lithographer Théodore Géricault (1791–1824). In this 1814 Salon entry, Géricault decided to turn away from scenes of heroism in favor of a subject that is on the losing side of the battle. On display in the aftermath of France's disastrous military campaign in Russia, this life-size painting captured the feeling of a nation in defeat. There are no visible wounds on the figure, and the title has sometimes been interpreted to refer to soldier's injured pride. The painting stood in stark contrast with Géricault's Charging Chasseur, as it didn't focus on glory or the spectacle of battle. Only his Signboard of a Hoofsmith, which is currently in a private collection, bears any resemblance in form or function to this painting.The final salon version of The Wounded Cuirassier is at the Musée du Louvre and the smaller, study version, is located at the Brooklyn Museum.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


The Wounded Cuirassier

Prompt: How does The Wounded Cuirassier explain its abstract?

The Wounded Cuirassier (French: Le Cuirassier blessé quittant le feu) is an oil painting of a single anonymous soldier descending a slope with his nervous horse by the French Romantic painter and lithographer Théodore Géricault (1791–1824). In this 1814 Salon entry, Géricault decided to turn away from scenes of heroism in favor of a subject that is on the losing side of the battle. On display in the aftermath of France's disastrous military campaign in Russia, this life-size painting captured the feeling of a nation in defeat. There are no visible wounds on the figure, and the title has sometimes been interpreted to refer to soldier's injured pride. The painting stood in stark contrast with Géricault's Charging Chasseur, as it didn't focus on glory or the spectacle of battle. Only his Signboard of a Hoofsmith, which is currently in a private collection, bears any resemblance in form or function to this painting.The final salon version of The Wounded Cuirassier is at the Musée du Louvre and the smaller, study version, is located at the Brooklyn Museum.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


The Wounded Cuirassier

Prompt: In The Wounded Cuirassier, how is the abstract discussed?

The Wounded Cuirassier (French: Le Cuirassier blessé quittant le feu) is an oil painting of a single anonymous soldier descending a slope with his nervous horse by the French Romantic painter and lithographer Théodore Géricault (1791–1824). In this 1814 Salon entry, Géricault decided to turn away from scenes of heroism in favor of a subject that is on the losing side of the battle. On display in the aftermath of France's disastrous military campaign in Russia, this life-size painting captured the feeling of a nation in defeat. There are no visible wounds on the figure, and the title has sometimes been interpreted to refer to soldier's injured pride. The painting stood in stark contrast with Géricault's Charging Chasseur, as it didn't focus on glory or the spectacle of battle. Only his Signboard of a Hoofsmith, which is currently in a private collection, bears any resemblance in form or function to this painting.The final salon version of The Wounded Cuirassier is at the Musée du Louvre and the smaller, study version, is located at the Brooklyn Museum.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


The Wounded Cuirassier

Prompt: Focus on The Wounded Cuirassier and explain the Artist and setting.

Géricault studied in Paris where he created his first major work, The Charging Chasseur, for the Paris Salon of 1812. His next major Salon submission was The Wounded Cuirassier in 1814.In the months before the exhibition, Paris fell to the sixth coalition and Napoleon was defeated and exiled from France. After The Wounded Cuirassier received a negative response from critics, Géricault entered a long period of artistic study, and in 1816 he left France to find inspiration in Rome.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


The Wounded Cuirassier

Prompt: Explain the Artist and setting of this artwork, The Wounded Cuirassier.

Géricault studied in Paris where he created his first major work, The Charging Chasseur, for the Paris Salon of 1812. His next major Salon submission was The Wounded Cuirassier in 1814.In the months before the exhibition, Paris fell to the sixth coalition and Napoleon was defeated and exiled from France. After The Wounded Cuirassier received a negative response from critics, Géricault entered a long period of artistic study, and in 1816 he left France to find inspiration in Rome.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


The Wounded Cuirassier

Prompt: How does The Wounded Cuirassier explain its Artist and setting?

Géricault studied in Paris where he created his first major work, The Charging Chasseur, for the Paris Salon of 1812. His next major Salon submission was The Wounded Cuirassier in 1814.In the months before the exhibition, Paris fell to the sixth coalition and Napoleon was defeated and exiled from France. After The Wounded Cuirassier received a negative response from critics, Géricault entered a long period of artistic study, and in 1816 he left France to find inspiration in Rome.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


The Wounded Cuirassier

Prompt: In The Wounded Cuirassier, how is the Artist and setting discussed?

Géricault studied in Paris where he created his first major work, The Charging Chasseur, for the Paris Salon of 1812. His next major Salon submission was The Wounded Cuirassier in 1814.In the months before the exhibition, Paris fell to the sixth coalition and Napoleon was defeated and exiled from France. After The Wounded Cuirassier received a negative response from critics, Géricault entered a long period of artistic study, and in 1816 he left France to find inspiration in Rome.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


The Wounded Cuirassier

Prompt: Focus on The Wounded Cuirassier and explain the Creation.

Géricault rushed to make The Wounded Cuirassier in only three weeks and created five separate sketches and drafts before the final version. Perhaps as a result of its hurried production, the message of the painting was not entirely clear to critics.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


The Wounded Cuirassier

Prompt: Explain the Creation of this artwork, The Wounded Cuirassier.

Géricault rushed to make The Wounded Cuirassier in only three weeks and created five separate sketches and drafts before the final version. Perhaps as a result of its hurried production, the message of the painting was not entirely clear to critics.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


The Wounded Cuirassier

Prompt: How does The Wounded Cuirassier explain its Creation?

Géricault rushed to make The Wounded Cuirassier in only three weeks and created five separate sketches and drafts before the final version. Perhaps as a result of its hurried production, the message of the painting was not entirely clear to critics.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


The Wounded Cuirassier

Prompt: In The Wounded Cuirassier, how is the Creation discussed?

Géricault rushed to make The Wounded Cuirassier in only three weeks and created five separate sketches and drafts before the final version. Perhaps as a result of its hurried production, the message of the painting was not entirely clear to critics.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


The Wounded Cuirassier

Prompt: Focus on The Wounded Cuirassier and explain the Style and composition.

Géricault uses a similar style and technique to his previous works, yet his approach to battle painting was unique in the period. He elected not to show a wound on the soldier, perhaps suggesting to viewers that the wound is internal and extends to the nation. The soldier and horse are shown in a tense and vulnerable state; the soldier uses his sword as a sort of crutch. Géricault also used the horse to convey emotion. In The Wounded Cuirassier, he uses the horse's facial expressions and uneasy footing to emphasize the unsteadiness and terror of the soldier.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


The Wounded Cuirassier

Prompt: Explain the Style and composition of this artwork, The Wounded Cuirassier.

Géricault uses a similar style and technique to his previous works, yet his approach to battle painting was unique in the period. He elected not to show a wound on the soldier, perhaps suggesting to viewers that the wound is internal and extends to the nation. The soldier and horse are shown in a tense and vulnerable state; the soldier uses his sword as a sort of crutch. Géricault also used the horse to convey emotion. In The Wounded Cuirassier, he uses the horse's facial expressions and uneasy footing to emphasize the unsteadiness and terror of the soldier.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


The Wounded Cuirassier

Prompt: How does The Wounded Cuirassier explain its Style and composition?

Géricault uses a similar style and technique to his previous works, yet his approach to battle painting was unique in the period. He elected not to show a wound on the soldier, perhaps suggesting to viewers that the wound is internal and extends to the nation. The soldier and horse are shown in a tense and vulnerable state; the soldier uses his sword as a sort of crutch. Géricault also used the horse to convey emotion. In The Wounded Cuirassier, he uses the horse's facial expressions and uneasy footing to emphasize the unsteadiness and terror of the soldier.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


The Wounded Cuirassier

Prompt: In The Wounded Cuirassier, how is the Style and composition discussed?

Géricault uses a similar style and technique to his previous works, yet his approach to battle painting was unique in the period. He elected not to show a wound on the soldier, perhaps suggesting to viewers that the wound is internal and extends to the nation. The soldier and horse are shown in a tense and vulnerable state; the soldier uses his sword as a sort of crutch. Géricault also used the horse to convey emotion. In The Wounded Cuirassier, he uses the horse's facial expressions and uneasy footing to emphasize the unsteadiness and terror of the soldier.

Category:Paintings in the Brooklyn Museum

Category:Paintings by Théodore Géricault

Category:Paintings in the Louvre by French artists


A holiday at Mentone

Prompt: Focus on A holiday at Mentone and explain the abstract.

A holiday at Mentone is an 1888 painting by Charles Conder, a leading member of the Heidelberg School movement, also known as Australian impressionism. It depicts people engaged in seaside activities on a sunny day at Mentone Beach, in the Melbourne suburb of Mentone.The painting is celebrated for capturing the heat and brilliant noonday sunshine that is characteristic of Australia. Noted also for its jokes and visual puns, A holiday at Mentone has been described as "a witty comment on the transformation of nature into artifice through fashion, decorum, and painting".

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia

Winter morning after rain, Gardiner's Creek


A holiday at Mentone

Prompt: Explain the abstract of this artwork, A holiday at Mentone.

A holiday at Mentone is an 1888 painting by Charles Conder, a leading member of the Heidelberg School movement, also known as Australian impressionism. It depicts people engaged in seaside activities on a sunny day at Mentone Beach, in the Melbourne suburb of Mentone.The painting is celebrated for capturing the heat and brilliant noonday sunshine that is characteristic of Australia. Noted also for its jokes and visual puns, A holiday at Mentone has been described as "a witty comment on the transformation of nature into artifice through fashion, decorum, and painting".

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia

Winter morning after rain, Gardiner's Creek


A holiday at Mentone

Prompt: How does A holiday at Mentone explain its abstract?

A holiday at Mentone is an 1888 painting by Charles Conder, a leading member of the Heidelberg School movement, also known as Australian impressionism. It depicts people engaged in seaside activities on a sunny day at Mentone Beach, in the Melbourne suburb of Mentone.The painting is celebrated for capturing the heat and brilliant noonday sunshine that is characteristic of Australia. Noted also for its jokes and visual puns, A holiday at Mentone has been described as "a witty comment on the transformation of nature into artifice through fashion, decorum, and painting".

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia

Winter morning after rain, Gardiner's Creek


A holiday at Mentone

Prompt: In A holiday at Mentone, how is the abstract discussed?

A holiday at Mentone is an 1888 painting by Charles Conder, a leading member of the Heidelberg School movement, also known as Australian impressionism. It depicts people engaged in seaside activities on a sunny day at Mentone Beach, in the Melbourne suburb of Mentone.The painting is celebrated for capturing the heat and brilliant noonday sunshine that is characteristic of Australia. Noted also for its jokes and visual puns, A holiday at Mentone has been described as "a witty comment on the transformation of nature into artifice through fashion, decorum, and painting".

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia

Winter morning after rain, Gardiner's Creek


A holiday at Mentone

Prompt: Focus on A holiday at Mentone and explain the Background.

In October 1888, Conder, aged 20, moved to Melbourne from Sydney. Conder had met the Melbourne-based painter Tom Roberts in Sydney the previous year and again at Easter 1888, where the pair had painted en plein air together at Coogee Beach. In Melbourne, Conder initially based himself at Roberts' Grosvenor Chambers studio and A Holiday at Mentone was his first painting in the new city, completed within a few weeks of arriving there.During the summer of 1886–87 at Mentone, Roberts and Frederick McCubbin established an "artists' camp" and, as legend has it, encountered for the first time the young Arthur Streeton, painting en plein air on the beach. These three artists, along with Conder, formed the core membership of what became known as the Heidelberg School movement, also known as Australian impressionism.

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia

Winter morning after rain, Gardiner's Creek


A holiday at Mentone

Prompt: Explain the Background of this artwork, A holiday at Mentone.

In October 1888, Conder, aged 20, moved to Melbourne from Sydney. Conder had met the Melbourne-based painter Tom Roberts in Sydney the previous year and again at Easter 1888, where the pair had painted en plein air together at Coogee Beach. In Melbourne, Conder initially based himself at Roberts' Grosvenor Chambers studio and A Holiday at Mentone was his first painting in the new city, completed within a few weeks of arriving there.During the summer of 1886–87 at Mentone, Roberts and Frederick McCubbin established an "artists' camp" and, as legend has it, encountered for the first time the young Arthur Streeton, painting en plein air on the beach. These three artists, along with Conder, formed the core membership of what became known as the Heidelberg School movement, also known as Australian impressionism.

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia

Winter morning after rain, Gardiner's Creek


A holiday at Mentone

Prompt: How does A holiday at Mentone explain its Background?

In October 1888, Conder, aged 20, moved to Melbourne from Sydney. Conder had met the Melbourne-based painter Tom Roberts in Sydney the previous year and again at Easter 1888, where the pair had painted en plein air together at Coogee Beach. In Melbourne, Conder initially based himself at Roberts' Grosvenor Chambers studio and A Holiday at Mentone was his first painting in the new city, completed within a few weeks of arriving there.During the summer of 1886–87 at Mentone, Roberts and Frederick McCubbin established an "artists' camp" and, as legend has it, encountered for the first time the young Arthur Streeton, painting en plein air on the beach. These three artists, along with Conder, formed the core membership of what became known as the Heidelberg School movement, also known as Australian impressionism.

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia

Winter morning after rain, Gardiner's Creek


A holiday at Mentone

Prompt: In A holiday at Mentone, how is the Background discussed?

In October 1888, Conder, aged 20, moved to Melbourne from Sydney. Conder had met the Melbourne-based painter Tom Roberts in Sydney the previous year and again at Easter 1888, where the pair had painted en plein air together at Coogee Beach. In Melbourne, Conder initially based himself at Roberts' Grosvenor Chambers studio and A Holiday at Mentone was his first painting in the new city, completed within a few weeks of arriving there.During the summer of 1886–87 at Mentone, Roberts and Frederick McCubbin established an "artists' camp" and, as legend has it, encountered for the first time the young Arthur Streeton, painting en plein air on the beach. These three artists, along with Conder, formed the core membership of what became known as the Heidelberg School movement, also known as Australian impressionism.

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia

Winter morning after rain, Gardiner's Creek


A holiday at Mentone

Prompt: Focus on A holiday at Mentone and explain the Composition.

At least some of the work was painted en plein air, as evidenced by beach sand embedded within the paint, discovered later by conservators. Its composition and bridge show the influence of Japanese art; a similar bridge motif was commonly used by the American painter James McNeill Whistler, a major influence on Conder and other members of the Heidelberg School. Roberts' 1885 painting Winter morning after rain, Gardiner's Creek, with its high horizon line and bisecting bridge, may have also been a reference point. The strands of seaweed on the shore cleverly indicate spatial depth and are treated "almost caligraphically", drawing further comparisons to Japanese decorative elements.The painting is a social comedy containing several visual puns. While at first it seems a depiction of decorous behaviour, the three figures in the foreground are rigid and disunited in their arrangement. The fashionably dressed woman is seated with her back to the scene, including Mentone Baths, a gender-segregated bathhouse. She has ignored her wind-blown Japanese umbrella, now upturned on the sand and appearing like an imitation of a red ukiyo-e seal. Instead, she reads a copy of the pink-covered periodical The Bulletin, known for its larrikin humour and radical, literary nationalism. Standing on the right, the flaneur (leisurely observer of urban life) gazes out at "nowhere in particular". It has also been suggested that he and the "New Woman" are actually watching each other from the corner of their eye, feigning disinterest. The third figure, a man, situated between the other two, lies prostrate on the beach with his arm raised in an awkward pose. Facing the viewer and with a copy of The Bulletin between his legs, he looks comical, if not surreal, and his behaviour "underlines the sense of self-conscious display in the painting". In the background, an elderly couple dressed conservatively in black observe the three young beachgoers—progressive members of Melbourne's rising middle class.One of Streeton's descendants suggested that Roberts is the figure in the grey suit on the pier and Streeton is the man lying down on the beach.

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia


A holiday at Mentone

Prompt: Explain the Composition of this artwork, A holiday at Mentone.

At least some of the work was painted en plein air, as evidenced by beach sand embedded within the paint, discovered later by conservators. Its composition and bridge show the influence of Japanese art; a similar bridge motif was commonly used by the American painter James McNeill Whistler, a major influence on Conder and other members of the Heidelberg School. Roberts' 1885 painting Winter morning after rain, Gardiner's Creek, with its high horizon line and bisecting bridge, may have also been a reference point. The strands of seaweed on the shore cleverly indicate spatial depth and are treated "almost caligraphically", drawing further comparisons to Japanese decorative elements.The painting is a social comedy containing several visual puns. While at first it seems a depiction of decorous behaviour, the three figures in the foreground are rigid and disunited in their arrangement. The fashionably dressed woman is seated with her back to the scene, including Mentone Baths, a gender-segregated bathhouse. She has ignored her wind-blown Japanese umbrella, now upturned on the sand and appearing like an imitation of a red ukiyo-e seal. Instead, she reads a copy of the pink-covered periodical The Bulletin, known for its larrikin humour and radical, literary nationalism. Standing on the right, the flaneur (leisurely observer of urban life) gazes out at "nowhere in particular". It has also been suggested that he and the "New Woman" are actually watching each other from the corner of their eye, feigning disinterest. The third figure, a man, situated between the other two, lies prostrate on the beach with his arm raised in an awkward pose. Facing the viewer and with a copy of The Bulletin between his legs, he looks comical, if not surreal, and his behaviour "underlines the sense of self-conscious display in the painting". In the background, an elderly couple dressed conservatively in black observe the three young beachgoers—progressive members of Melbourne's rising middle class.One of Streeton's descendants suggested that Roberts is the figure in the grey suit on the pier and Streeton is the man lying down on the beach.

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia


A holiday at Mentone

Prompt: How does A holiday at Mentone explain its Composition?

At least some of the work was painted en plein air, as evidenced by beach sand embedded within the paint, discovered later by conservators. Its composition and bridge show the influence of Japanese art; a similar bridge motif was commonly used by the American painter James McNeill Whistler, a major influence on Conder and other members of the Heidelberg School. Roberts' 1885 painting Winter morning after rain, Gardiner's Creek, with its high horizon line and bisecting bridge, may have also been a reference point. The strands of seaweed on the shore cleverly indicate spatial depth and are treated "almost caligraphically", drawing further comparisons to Japanese decorative elements.The painting is a social comedy containing several visual puns. While at first it seems a depiction of decorous behaviour, the three figures in the foreground are rigid and disunited in their arrangement. The fashionably dressed woman is seated with her back to the scene, including Mentone Baths, a gender-segregated bathhouse. She has ignored her wind-blown Japanese umbrella, now upturned on the sand and appearing like an imitation of a red ukiyo-e seal. Instead, she reads a copy of the pink-covered periodical The Bulletin, known for its larrikin humour and radical, literary nationalism. Standing on the right, the flaneur (leisurely observer of urban life) gazes out at "nowhere in particular". It has also been suggested that he and the "New Woman" are actually watching each other from the corner of their eye, feigning disinterest. The third figure, a man, situated between the other two, lies prostrate on the beach with his arm raised in an awkward pose. Facing the viewer and with a copy of The Bulletin between his legs, he looks comical, if not surreal, and his behaviour "underlines the sense of self-conscious display in the painting". In the background, an elderly couple dressed conservatively in black observe the three young beachgoers—progressive members of Melbourne's rising middle class.One of Streeton's descendants suggested that Roberts is the figure in the grey suit on the pier and Streeton is the man lying down on the beach.

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia


A holiday at Mentone

Prompt: In A holiday at Mentone, how is the Composition discussed?

At least some of the work was painted en plein air, as evidenced by beach sand embedded within the paint, discovered later by conservators. Its composition and bridge show the influence of Japanese art; a similar bridge motif was commonly used by the American painter James McNeill Whistler, a major influence on Conder and other members of the Heidelberg School. Roberts' 1885 painting Winter morning after rain, Gardiner's Creek, with its high horizon line and bisecting bridge, may have also been a reference point. The strands of seaweed on the shore cleverly indicate spatial depth and are treated "almost caligraphically", drawing further comparisons to Japanese decorative elements.The painting is a social comedy containing several visual puns. While at first it seems a depiction of decorous behaviour, the three figures in the foreground are rigid and disunited in their arrangement. The fashionably dressed woman is seated with her back to the scene, including Mentone Baths, a gender-segregated bathhouse. She has ignored her wind-blown Japanese umbrella, now upturned on the sand and appearing like an imitation of a red ukiyo-e seal. Instead, she reads a copy of the pink-covered periodical The Bulletin, known for its larrikin humour and radical, literary nationalism. Standing on the right, the flaneur (leisurely observer of urban life) gazes out at "nowhere in particular". It has also been suggested that he and the "New Woman" are actually watching each other from the corner of their eye, feigning disinterest. The third figure, a man, situated between the other two, lies prostrate on the beach with his arm raised in an awkward pose. Facing the viewer and with a copy of The Bulletin between his legs, he looks comical, if not surreal, and his behaviour "underlines the sense of self-conscious display in the painting". In the background, an elderly couple dressed conservatively in black observe the three young beachgoers—progressive members of Melbourne's rising middle class.One of Streeton's descendants suggested that Roberts is the figure in the grey suit on the pier and Streeton is the man lying down on the beach.

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia


A holiday at Mentone

Prompt: Focus on A holiday at Mentone and explain the Reception and legacy.

The painting was first exhibited at the Victorian Artists' Society's Spring exhibition in November 1888, one month after Conder arrived in Melbourne. Reviewing the show, The Argus noted: "Charles Conder is another young artist who has fallen under the spell of the French impressionists."Perhaps Conder's best known painting, A holiday at Mentone has been described as a "critically acclaimed masterpiece of the Australian Impressionist style of painting" and a "singularly Australian work". Terence Lane, senior curator of Australian Art at the National Gallery of Victoria described the painting's staging as "stilted, almost surreal" but the composition as "splendidly abstract and the sunshine brilliantly Australian".The painting was formerly owned by John Atwill, president of the Liberal Party of Australia. The Art Gallery of South Australia purchased the painting off Atwill for A$250,000 in 1981.In 1984, Australia Post issued a stamp featuring A holiday at Mentone.

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia

Winter morning after rain, Gardiner's Creek


A holiday at Mentone

Prompt: Explain the Reception and legacy of this artwork, A holiday at Mentone.

The painting was first exhibited at the Victorian Artists' Society's Spring exhibition in November 1888, one month after Conder arrived in Melbourne. Reviewing the show, The Argus noted: "Charles Conder is another young artist who has fallen under the spell of the French impressionists."Perhaps Conder's best known painting, A holiday at Mentone has been described as a "critically acclaimed masterpiece of the Australian Impressionist style of painting" and a "singularly Australian work". Terence Lane, senior curator of Australian Art at the National Gallery of Victoria described the painting's staging as "stilted, almost surreal" but the composition as "splendidly abstract and the sunshine brilliantly Australian".The painting was formerly owned by John Atwill, president of the Liberal Party of Australia. The Art Gallery of South Australia purchased the painting off Atwill for A$250,000 in 1981.In 1984, Australia Post issued a stamp featuring A holiday at Mentone.

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia

Winter morning after rain, Gardiner's Creek


A holiday at Mentone

Prompt: How does A holiday at Mentone explain its Reception and legacy?

The painting was first exhibited at the Victorian Artists' Society's Spring exhibition in November 1888, one month after Conder arrived in Melbourne. Reviewing the show, The Argus noted: "Charles Conder is another young artist who has fallen under the spell of the French impressionists."Perhaps Conder's best known painting, A holiday at Mentone has been described as a "critically acclaimed masterpiece of the Australian Impressionist style of painting" and a "singularly Australian work". Terence Lane, senior curator of Australian Art at the National Gallery of Victoria described the painting's staging as "stilted, almost surreal" but the composition as "splendidly abstract and the sunshine brilliantly Australian".The painting was formerly owned by John Atwill, president of the Liberal Party of Australia. The Art Gallery of South Australia purchased the painting off Atwill for A$250,000 in 1981.In 1984, Australia Post issued a stamp featuring A holiday at Mentone.

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia

Winter morning after rain, Gardiner's Creek


A holiday at Mentone

Prompt: In A holiday at Mentone, how is the Reception and legacy discussed?

The painting was first exhibited at the Victorian Artists' Society's Spring exhibition in November 1888, one month after Conder arrived in Melbourne. Reviewing the show, The Argus noted: "Charles Conder is another young artist who has fallen under the spell of the French impressionists."Perhaps Conder's best known painting, A holiday at Mentone has been described as a "critically acclaimed masterpiece of the Australian Impressionist style of painting" and a "singularly Australian work". Terence Lane, senior curator of Australian Art at the National Gallery of Victoria described the painting's staging as "stilted, almost surreal" but the composition as "splendidly abstract and the sunshine brilliantly Australian".The painting was formerly owned by John Atwill, president of the Liberal Party of Australia. The Art Gallery of South Australia purchased the painting off Atwill for A$250,000 in 1981.In 1984, Australia Post issued a stamp featuring A holiday at Mentone.

A 1907 photograph showing the portion of [[Mentone Beach

Category:Collection of the Art Gallery of South Australia

Winter morning after rain, Gardiner's Creek


Prompt: Focus on The Resurrection (Piero della Francesca) and explain the abstract.

The Resurrection is a fresco painting by the Italian Renaissance master Piero della Francesca, painted in the 1460s in the Palazzo della Residenza in the town of Sansepolcro, Tuscany, Italy.Piero was commissioned to paint the fresco for the Gothic-style Residenza, the communal meeting hall. This was used solely by Conservatori, the chief magistrates and governors, who, before starting their councils, would pray before the image. "The secular and spiritual meanings of the painting were always intimately intertwined." Placed high on the interior wall facing the entrance, the fresco includes an allusion to the name of the city (meaning "Holy Sepulchre"), derived from the presence of two relics of the Holy Sepulchre carried here by two pilgrims in the 9th century. Della Francesca's 'Christ' is also featured on the town's coat of arms.

Category:Paintings by Piero della Francesca

File:Sleeping guards (Piero della Francesca).jpg

Category:Paintings of the Resurrection of Christ

Category:Fresco paintings in Sansepolcro

Category:Paintings in the Museo Civico di Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.


Prompt: Explain the abstract of this artwork, The Resurrection (Piero della Francesca).

The Resurrection is a fresco painting by the Italian Renaissance master Piero della Francesca, painted in the 1460s in the Palazzo della Residenza in the town of Sansepolcro, Tuscany, Italy.Piero was commissioned to paint the fresco for the Gothic-style Residenza, the communal meeting hall. This was used solely by Conservatori, the chief magistrates and governors, who, before starting their councils, would pray before the image. "The secular and spiritual meanings of the painting were always intimately intertwined." Placed high on the interior wall facing the entrance, the fresco includes an allusion to the name of the city (meaning "Holy Sepulchre"), derived from the presence of two relics of the Holy Sepulchre carried here by two pilgrims in the 9th century. Della Francesca's 'Christ' is also featured on the town's coat of arms.

Category:Paintings by Piero della Francesca

File:Sleeping guards (Piero della Francesca).jpg

Category:Paintings of the Resurrection of Christ

Category:Fresco paintings in Sansepolcro

Category:Paintings in the Museo Civico di Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.


Prompt: How does The Resurrection (Piero della Francesca) explain its abstract?

The Resurrection is a fresco painting by the Italian Renaissance master Piero della Francesca, painted in the 1460s in the Palazzo della Residenza in the town of Sansepolcro, Tuscany, Italy.Piero was commissioned to paint the fresco for the Gothic-style Residenza, the communal meeting hall. This was used solely by Conservatori, the chief magistrates and governors, who, before starting their councils, would pray before the image. "The secular and spiritual meanings of the painting were always intimately intertwined." Placed high on the interior wall facing the entrance, the fresco includes an allusion to the name of the city (meaning "Holy Sepulchre"), derived from the presence of two relics of the Holy Sepulchre carried here by two pilgrims in the 9th century. Della Francesca's 'Christ' is also featured on the town's coat of arms.

Category:Paintings by Piero della Francesca

File:Sleeping guards (Piero della Francesca).jpg

Category:Paintings of the Resurrection of Christ

Category:Fresco paintings in Sansepolcro

Category:Paintings in the Museo Civico di Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.


Prompt: In The Resurrection (Piero della Francesca), how is the abstract discussed?

The Resurrection is a fresco painting by the Italian Renaissance master Piero della Francesca, painted in the 1460s in the Palazzo della Residenza in the town of Sansepolcro, Tuscany, Italy.Piero was commissioned to paint the fresco for the Gothic-style Residenza, the communal meeting hall. This was used solely by Conservatori, the chief magistrates and governors, who, before starting their councils, would pray before the image. "The secular and spiritual meanings of the painting were always intimately intertwined." Placed high on the interior wall facing the entrance, the fresco includes an allusion to the name of the city (meaning "Holy Sepulchre"), derived from the presence of two relics of the Holy Sepulchre carried here by two pilgrims in the 9th century. Della Francesca's 'Christ' is also featured on the town's coat of arms.

Category:Paintings by Piero della Francesca

File:Sleeping guards (Piero della Francesca).jpg

Category:Paintings of the Resurrection of Christ

Category:Fresco paintings in Sansepolcro

Category:Paintings in the Museo Civico di Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.


Prompt: Focus on The Resurrection (Piero della Francesca) and explain the Composition.

Jesus is in the centre of the composition, portrayed in the moment of his resurrection, as suggested by the position of the leg on the parapet of his tomb, which Piero renders as a classical sarcophagus. His stern, impassive figure, depicted in an iconic and abstract fixity (and described by Aldous Huxley as "athletic"), rises over four sleeping soldiers, representing the difference between the human and the divine spheres (or the death, defeated by Christ's light). His figure in the commune's council hall "both protects the judge and purifies the judged" according to Marilyn Aronberg Lavin. The landscape, immersed in the dawn light, has also a symbolic value: the contrast between the flourishing young trees on the right and the bare mature ones on the left alludes to the renovation of men through the Resurrection's light.Andrew Graham-Dixon notes that apart from the wound, Christ's "body is as perfectly sculpted and as blemish-free as that of an antique statue. But there are touches of intense humanity about him too: the unidealised, almost coarse-featured face; and those three folds of skin that wrinkle at his belly as he raises his left leg. Piero emphasises his twofold nature, as both man and God."The guard holding the lance is depicted sitting in an anatomically impossible pose, and appears to have no legs. Piero probably left them out so as not to break the balance of the composition.According to tradition and by comparison with the woodcut illustrating Giorgio Vasari's Lives of the Painters, the sleeping soldier in brown armor on Christ's right is a self-portrait of Piero. The contact between the soldier's head and the pole of the banner carried by Christ is supposed to represent his contact with the divinity.The composition is unusual in that it contains two vanishing points. One is in the center of the sarcophagus, because the faces of the guards are seen from below, and the other is in Jesus's face. The top of the sarcophagus forms a boundary between the two points of view, and the steepness of the hills prevents the transition between the two points of view from being too jarring.

Category:Paintings by Piero della Francesca

File:Sleeping guards (Piero della Francesca).jpg

Category:Paintings of the Resurrection of Christ

Category:Fresco paintings in Sansepolcro

Category:Paintings in the Museo Civico di Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.


Prompt: Explain the Composition of this artwork, The Resurrection (Piero della Francesca).

Jesus is in the centre of the composition, portrayed in the moment of his resurrection, as suggested by the position of the leg on the parapet of his tomb, which Piero renders as a classical sarcophagus. His stern, impassive figure, depicted in an iconic and abstract fixity (and described by Aldous Huxley as "athletic"), rises over four sleeping soldiers, representing the difference between the human and the divine spheres (or the death, defeated by Christ's light). His figure in the commune's council hall "both protects the judge and purifies the judged" according to Marilyn Aronberg Lavin. The landscape, immersed in the dawn light, has also a symbolic value: the contrast between the flourishing young trees on the right and the bare mature ones on the left alludes to the renovation of men through the Resurrection's light.Andrew Graham-Dixon notes that apart from the wound, Christ's "body is as perfectly sculpted and as blemish-free as that of an antique statue. But there are touches of intense humanity about him too: the unidealised, almost coarse-featured face; and those three folds of skin that wrinkle at his belly as he raises his left leg. Piero emphasises his twofold nature, as both man and God."The guard holding the lance is depicted sitting in an anatomically impossible pose, and appears to have no legs. Piero probably left them out so as not to break the balance of the composition.According to tradition and by comparison with the woodcut illustrating Giorgio Vasari's Lives of the Painters, the sleeping soldier in brown armor on Christ's right is a self-portrait of Piero. The contact between the soldier's head and the pole of the banner carried by Christ is supposed to represent his contact with the divinity.The composition is unusual in that it contains two vanishing points. One is in the center of the sarcophagus, because the faces of the guards are seen from below, and the other is in Jesus's face. The top of the sarcophagus forms a boundary between the two points of view, and the steepness of the hills prevents the transition between the two points of view from being too jarring.

Category:Paintings by Piero della Francesca

File:Sleeping guards (Piero della Francesca).jpg

Category:Paintings of the Resurrection of Christ

Category:Fresco paintings in Sansepolcro

Category:Paintings in the Museo Civico di Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.


Prompt: How does The Resurrection (Piero della Francesca) explain its Composition?

Jesus is in the centre of the composition, portrayed in the moment of his resurrection, as suggested by the position of the leg on the parapet of his tomb, which Piero renders as a classical sarcophagus. His stern, impassive figure, depicted in an iconic and abstract fixity (and described by Aldous Huxley as "athletic"), rises over four sleeping soldiers, representing the difference between the human and the divine spheres (or the death, defeated by Christ's light). His figure in the commune's council hall "both protects the judge and purifies the judged" according to Marilyn Aronberg Lavin. The landscape, immersed in the dawn light, has also a symbolic value: the contrast between the flourishing young trees on the right and the bare mature ones on the left alludes to the renovation of men through the Resurrection's light.Andrew Graham-Dixon notes that apart from the wound, Christ's "body is as perfectly sculpted and as blemish-free as that of an antique statue. But there are touches of intense humanity about him too: the unidealised, almost coarse-featured face; and those three folds of skin that wrinkle at his belly as he raises his left leg. Piero emphasises his twofold nature, as both man and God."The guard holding the lance is depicted sitting in an anatomically impossible pose, and appears to have no legs. Piero probably left them out so as not to break the balance of the composition.According to tradition and by comparison with the woodcut illustrating Giorgio Vasari's Lives of the Painters, the sleeping soldier in brown armor on Christ's right is a self-portrait of Piero. The contact between the soldier's head and the pole of the banner carried by Christ is supposed to represent his contact with the divinity.The composition is unusual in that it contains two vanishing points. One is in the center of the sarcophagus, because the faces of the guards are seen from below, and the other is in Jesus's face. The top of the sarcophagus forms a boundary between the two points of view, and the steepness of the hills prevents the transition between the two points of view from being too jarring.

Category:Paintings by Piero della Francesca

File:Sleeping guards (Piero della Francesca).jpg

Category:Paintings of the Resurrection of Christ

Category:Fresco paintings in Sansepolcro

Category:Paintings in the Museo Civico di Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.


Prompt: In The Resurrection (Piero della Francesca), how is the Composition discussed?

Jesus is in the centre of the composition, portrayed in the moment of his resurrection, as suggested by the position of the leg on the parapet of his tomb, which Piero renders as a classical sarcophagus. His stern, impassive figure, depicted in an iconic and abstract fixity (and described by Aldous Huxley as "athletic"), rises over four sleeping soldiers, representing the difference between the human and the divine spheres (or the death, defeated by Christ's light). His figure in the commune's council hall "both protects the judge and purifies the judged" according to Marilyn Aronberg Lavin. The landscape, immersed in the dawn light, has also a symbolic value: the contrast between the flourishing young trees on the right and the bare mature ones on the left alludes to the renovation of men through the Resurrection's light.Andrew Graham-Dixon notes that apart from the wound, Christ's "body is as perfectly sculpted and as blemish-free as that of an antique statue. But there are touches of intense humanity about him too: the unidealised, almost coarse-featured face; and those three folds of skin that wrinkle at his belly as he raises his left leg. Piero emphasises his twofold nature, as both man and God."The guard holding the lance is depicted sitting in an anatomically impossible pose, and appears to have no legs. Piero probably left them out so as not to break the balance of the composition.According to tradition and by comparison with the woodcut illustrating Giorgio Vasari's Lives of the Painters, the sleeping soldier in brown armor on Christ's right is a self-portrait of Piero. The contact between the soldier's head and the pole of the banner carried by Christ is supposed to represent his contact with the divinity.The composition is unusual in that it contains two vanishing points. One is in the center of the sarcophagus, because the faces of the guards are seen from below, and the other is in Jesus's face. The top of the sarcophagus forms a boundary between the two points of view, and the steepness of the hills prevents the transition between the two points of view from being too jarring.

Category:Paintings by Piero della Francesca

File:Sleeping guards (Piero della Francesca).jpg

Category:Paintings of the Resurrection of Christ

Category:Fresco paintings in Sansepolcro

Category:Paintings in the Museo Civico di Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.


Prompt: Focus on The Resurrection (Piero della Francesca) and explain the Near-destruction.

Sansepolcro was spared much damage during World War 2 when British artillery officer Anthony ('Tony') Clarke defied orders and held back from using his troop's guns to shell the town. Although Clarke had never seen the fresco, his diary records his shock at the destruction in Monte Cassino and, apparently remembering where he had read of Sansepolcro, ordered his men to hold fire just as methodical shelling had begun. A lover of art, Clarke  had read Huxley's 1925 essay describing the Resurrection, which states: "It stands there before us in entire and actual splendour, the greatest picture in the world." It was later ascertained that the Germans were in retreat from the area – the bombardment had not been necessary, though Clarke had not known this when he ordered the shelling stopped. The town, along with its famous painting, survived. When the events of the episode eventually became clear, Clarke was lauded as a local hero and to this day a street in Sansepolcro bears his name.

Category:Paintings by Piero della Francesca

File:Sleeping guards (Piero della Francesca).jpg

Category:Paintings of the Resurrection of Christ

Category:Fresco paintings in Sansepolcro

Category:Paintings in the Museo Civico di Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.


Prompt: Explain the Near-destruction of this artwork, The Resurrection (Piero della Francesca).

Sansepolcro was spared much damage during World War 2 when British artillery officer Anthony ('Tony') Clarke defied orders and held back from using his troop's guns to shell the town. Although Clarke had never seen the fresco, his diary records his shock at the destruction in Monte Cassino and, apparently remembering where he had read of Sansepolcro, ordered his men to hold fire just as methodical shelling had begun. A lover of art, Clarke  had read Huxley's 1925 essay describing the Resurrection, which states: "It stands there before us in entire and actual splendour, the greatest picture in the world." It was later ascertained that the Germans were in retreat from the area – the bombardment had not been necessary, though Clarke had not known this when he ordered the shelling stopped. The town, along with its famous painting, survived. When the events of the episode eventually became clear, Clarke was lauded as a local hero and to this day a street in Sansepolcro bears his name.

Category:Paintings by Piero della Francesca

File:Sleeping guards (Piero della Francesca).jpg

Category:Paintings of the Resurrection of Christ

Category:Fresco paintings in Sansepolcro

Category:Paintings in the Museo Civico di Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.


Prompt: How does The Resurrection (Piero della Francesca) explain its Near-destruction?

Sansepolcro was spared much damage during World War 2 when British artillery officer Anthony ('Tony') Clarke defied orders and held back from using his troop's guns to shell the town. Although Clarke had never seen the fresco, his diary records his shock at the destruction in Monte Cassino and, apparently remembering where he had read of Sansepolcro, ordered his men to hold fire just as methodical shelling had begun. A lover of art, Clarke  had read Huxley's 1925 essay describing the Resurrection, which states: "It stands there before us in entire and actual splendour, the greatest picture in the world." It was later ascertained that the Germans were in retreat from the area – the bombardment had not been necessary, though Clarke had not known this when he ordered the shelling stopped. The town, along with its famous painting, survived. When the events of the episode eventually became clear, Clarke was lauded as a local hero and to this day a street in Sansepolcro bears his name.

Category:Paintings by Piero della Francesca

File:Sleeping guards (Piero della Francesca).jpg

Category:Paintings of the Resurrection of Christ

Category:Fresco paintings in Sansepolcro

Category:Paintings in the Museo Civico di Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.


Prompt: In The Resurrection (Piero della Francesca), how is the Near-destruction discussed?

Sansepolcro was spared much damage during World War 2 when British artillery officer Anthony ('Tony') Clarke defied orders and held back from using his troop's guns to shell the town. Although Clarke had never seen the fresco, his diary records his shock at the destruction in Monte Cassino and, apparently remembering where he had read of Sansepolcro, ordered his men to hold fire just as methodical shelling had begun. A lover of art, Clarke  had read Huxley's 1925 essay describing the Resurrection, which states: "It stands there before us in entire and actual splendour, the greatest picture in the world." It was later ascertained that the Germans were in retreat from the area – the bombardment had not been necessary, though Clarke had not known this when he ordered the shelling stopped. The town, along with its famous painting, survived. When the events of the episode eventually became clear, Clarke was lauded as a local hero and to this day a street in Sansepolcro bears his name.

Category:Paintings by Piero della Francesca

File:Sleeping guards (Piero della Francesca).jpg

Category:Paintings of the Resurrection of Christ

Category:Fresco paintings in Sansepolcro

Category:Paintings in the Museo Civico di Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.


Assumption of the Virgin (El Greco)

Prompt: Focus on Assumption of the Virgin (El Greco) and explain the abstract.

The Assumption of the Virgin is an oil on canvas painting by Greek artist Doménikos Theotokópoulos, known as El Greco, in 1577–1579. The painting was a central element of the altarpiece of the church of Santo Domingo el Antiguo in Toledo, Spain. It was the first of nine paintings that El Greco was commissioned to paint for this church. The Assumption of the Virgin was El Greco's first work in Toledo and started his 37-year career there. Under the influence of Michelangelo, El Greco created a painting that in essence was Italian, with a naturalistic style, monumental figures, and a Roman school palette. The composition of El Greco's depiction of the Assumption of the Virgin resembles Titian's Assumption in the Basilica dei Frari in Venice with Virgin Mary and angels above and the apostles below. On the painting Virgin Mary floats upward which symbolizes her purity, while apostles gathered around her empty tomb express amazement and concern.

Infanta María Cristina of Spain (1833–1902)

Infante Don Sebastián Gabriel de Borbón y Braganza

Category:Paintings of the Assumption of the Virgin


Assumption of the Virgin (El Greco)

Prompt: Explain the abstract of this artwork, Assumption of the Virgin (El Greco).

The Assumption of the Virgin is an oil on canvas painting by Greek artist Doménikos Theotokópoulos, known as El Greco, in 1577–1579. The painting was a central element of the altarpiece of the church of Santo Domingo el Antiguo in Toledo, Spain. It was the first of nine paintings that El Greco was commissioned to paint for this church. The Assumption of the Virgin was El Greco's first work in Toledo and started his 37-year career there. Under the influence of Michelangelo, El Greco created a painting that in essence was Italian, with a naturalistic style, monumental figures, and a Roman school palette. The composition of El Greco's depiction of the Assumption of the Virgin resembles Titian's Assumption in the Basilica dei Frari in Venice with Virgin Mary and angels above and the apostles below. On the painting Virgin Mary floats upward which symbolizes her purity, while apostles gathered around her empty tomb express amazement and concern.

Infanta María Cristina of Spain (1833–1902)

Infante Don Sebastián Gabriel de Borbón y Braganza

Category:Paintings of the Assumption of the Virgin


Assumption of the Virgin (El Greco)

Prompt: How does Assumption of the Virgin (El Greco) explain its abstract?

The Assumption of the Virgin is an oil on canvas painting by Greek artist Doménikos Theotokópoulos, known as El Greco, in 1577–1579. The painting was a central element of the altarpiece of the church of Santo Domingo el Antiguo in Toledo, Spain. It was the first of nine paintings that El Greco was commissioned to paint for this church. The Assumption of the Virgin was El Greco's first work in Toledo and started his 37-year career there. Under the influence of Michelangelo, El Greco created a painting that in essence was Italian, with a naturalistic style, monumental figures, and a Roman school palette. The composition of El Greco's depiction of the Assumption of the Virgin resembles Titian's Assumption in the Basilica dei Frari in Venice with Virgin Mary and angels above and the apostles below. On the painting Virgin Mary floats upward which symbolizes her purity, while apostles gathered around her empty tomb express amazement and concern.

Infanta María Cristina of Spain (1833–1902)

Infante Don Sebastián Gabriel de Borbón y Braganza

Category:Paintings of the Assumption of the Virgin


Assumption of the Virgin (El Greco)

Prompt: In Assumption of the Virgin (El Greco), how is the abstract discussed?

The Assumption of the Virgin is an oil on canvas painting by Greek artist Doménikos Theotokópoulos, known as El Greco, in 1577–1579. The painting was a central element of the altarpiece of the church of Santo Domingo el Antiguo in Toledo, Spain. It was the first of nine paintings that El Greco was commissioned to paint for this church. The Assumption of the Virgin was El Greco's first work in Toledo and started his 37-year career there. Under the influence of Michelangelo, El Greco created a painting that in essence was Italian, with a naturalistic style, monumental figures, and a Roman school palette. The composition of El Greco's depiction of the Assumption of the Virgin resembles Titian's Assumption in the Basilica dei Frari in Venice with Virgin Mary and angels above and the apostles below. On the painting Virgin Mary floats upward which symbolizes her purity, while apostles gathered around her empty tomb express amazement and concern.

Infanta María Cristina of Spain (1833–1902)

Infante Don Sebastián Gabriel de Borbón y Braganza

Category:Paintings of the Assumption of the Virgin


Assumption of the Virgin (El Greco)

Prompt: Focus on Assumption of the Virgin (El Greco) and explain the Virgin Mary in art.

The Assumption of the Virgin Mary does not appear in the New Testament, but appears in apocryphal literature of the 3rd and 4th centuries, and by 1000 was widely believed in the Western Church, though not made formal Catholic dogma until 1950. It first became a popular subject in Western Christian art in the 12th century, along with other narrative scenes from the Life of the Virgin, and the Coronation of the Virgin. These "Marian" subjects were especially promoted by the Cistercian Order and Saint Bernard of Clairvaux (d. 1153).Literary accounts with more detail, such as the presence of the Apostles, appeared in late medieval works such as the Golden Legend, and were followed by artists. By the end of the Middle Ages, large and crowded altarpieces gave the artist the opportunity to show his virtuosity in composition, coloring and figure poses. After the Reformation, it was used to assert the Catholic position, rejected by Protestants.

Infanta María Cristina of Spain (1833–1902)

Infante Don Sebastián Gabriel de Borbón y Braganza

Category:Paintings of the Assumption of the Virgin


Assumption of the Virgin (El Greco)

Prompt: Explain the Virgin Mary in art of this artwork, Assumption of the Virgin (El Greco).

The Assumption of the Virgin Mary does not appear in the New Testament, but appears in apocryphal literature of the 3rd and 4th centuries, and by 1000 was widely believed in the Western Church, though not made formal Catholic dogma until 1950. It first became a popular subject in Western Christian art in the 12th century, along with other narrative scenes from the Life of the Virgin, and the Coronation of the Virgin. These "Marian" subjects were especially promoted by the Cistercian Order and Saint Bernard of Clairvaux (d. 1153).Literary accounts with more detail, such as the presence of the Apostles, appeared in late medieval works such as the Golden Legend, and were followed by artists. By the end of the Middle Ages, large and crowded altarpieces gave the artist the opportunity to show his virtuosity in composition, coloring and figure poses. After the Reformation, it was used to assert the Catholic position, rejected by Protestants.

Infanta María Cristina of Spain (1833–1902)

Infante Don Sebastián Gabriel de Borbón y Braganza

Category:Paintings of the Assumption of the Virgin


Assumption of the Virgin (El Greco)

Prompt: How does Assumption of the Virgin (El Greco) explain its Virgin Mary in art?

The Assumption of the Virgin Mary does not appear in the New Testament, but appears in apocryphal literature of the 3rd and 4th centuries, and by 1000 was widely believed in the Western Church, though not made formal Catholic dogma until 1950. It first became a popular subject in Western Christian art in the 12th century, along with other narrative scenes from the Life of the Virgin, and the Coronation of the Virgin. These "Marian" subjects were especially promoted by the Cistercian Order and Saint Bernard of Clairvaux (d. 1153).Literary accounts with more detail, such as the presence of the Apostles, appeared in late medieval works such as the Golden Legend, and were followed by artists. By the end of the Middle Ages, large and crowded altarpieces gave the artist the opportunity to show his virtuosity in composition, coloring and figure poses. After the Reformation, it was used to assert the Catholic position, rejected by Protestants.

Infanta María Cristina of Spain (1833–1902)

Infante Don Sebastián Gabriel de Borbón y Braganza

Category:Paintings of the Assumption of the Virgin


Assumption of the Virgin (El Greco)

Prompt: In Assumption of the Virgin (El Greco), how is the Virgin Mary in art discussed?

The Assumption of the Virgin Mary does not appear in the New Testament, but appears in apocryphal literature of the 3rd and 4th centuries, and by 1000 was widely believed in the Western Church, though not made formal Catholic dogma until 1950. It first became a popular subject in Western Christian art in the 12th century, along with other narrative scenes from the Life of the Virgin, and the Coronation of the Virgin. These "Marian" subjects were especially promoted by the Cistercian Order and Saint Bernard of Clairvaux (d. 1153).Literary accounts with more detail, such as the presence of the Apostles, appeared in late medieval works such as the Golden Legend, and were followed by artists. By the end of the Middle Ages, large and crowded altarpieces gave the artist the opportunity to show his virtuosity in composition, coloring and figure poses. After the Reformation, it was used to assert the Catholic position, rejected by Protestants.

Infanta María Cristina of Spain (1833–1902)

Infante Don Sebastián Gabriel de Borbón y Braganza

Category:Paintings of the Assumption of the Virgin


Assumption of the Virgin (El Greco)

Prompt: Focus on Assumption of the Virgin (El Greco) and explain the Provenance.

The painting was commissioned for the convent church of Santo Domingo el Antiguo in Toledo by Don Diego de Castilla in 1577. The Assumption remained in the church for over 200 years.Around 1830 the painting was sold to the Infante Don Sebastián Gabriel de Borbón y Braganza in Madrid. In 1835 Spanish government confiscated the painting from him and installed in the Museo Nacional de Trinidad in Madrid, however in 1861 the painting was returned to Don Sebastián. After Don Sebastián's death in 1875, his heirs began to sell works from his collections. The painting was owned by his widow, the Infanta María Cristina de Borbón until her death in 1902, and then was lent by the Infanta's heirs to the Museo del Prado in Madrid in 1902–1904.In 1904, the American painter Mary Cassatt persuaded the renowned Parisian art dealer Paul Durand–Ruel to purchase the painting, with the financing provided by H. O. Havemeyer. In 1906, the painting was sold to the Art Institute of Chicago.

Infanta María Cristina of Spain (1833–1902)

Category:Paintings of the Assumption of the Virgin


Assumption of the Virgin (El Greco)

Prompt: Explain the Provenance of this artwork, Assumption of the Virgin (El Greco).

The painting was commissioned for the convent church of Santo Domingo el Antiguo in Toledo by Don Diego de Castilla in 1577. The Assumption remained in the church for over 200 years.Around 1830 the painting was sold to the Infante Don Sebastián Gabriel de Borbón y Braganza in Madrid. In 1835 Spanish government confiscated the painting from him and installed in the Museo Nacional de Trinidad in Madrid, however in 1861 the painting was returned to Don Sebastián. After Don Sebastián's death in 1875, his heirs began to sell works from his collections. The painting was owned by his widow, the Infanta María Cristina de Borbón until her death in 1902, and then was lent by the Infanta's heirs to the Museo del Prado in Madrid in 1902–1904.In 1904, the American painter Mary Cassatt persuaded the renowned Parisian art dealer Paul Durand–Ruel to purchase the painting, with the financing provided by H. O. Havemeyer. In 1906, the painting was sold to the Art Institute of Chicago.

Infanta María Cristina of Spain (1833–1902)

Category:Paintings of the Assumption of the Virgin


Assumption of the Virgin (El Greco)

Prompt: How does Assumption of the Virgin (El Greco) explain its Provenance?

The painting was commissioned for the convent church of Santo Domingo el Antiguo in Toledo by Don Diego de Castilla in 1577. The Assumption remained in the church for over 200 years.Around 1830 the painting was sold to the Infante Don Sebastián Gabriel de Borbón y Braganza in Madrid. In 1835 Spanish government confiscated the painting from him and installed in the Museo Nacional de Trinidad in Madrid, however in 1861 the painting was returned to Don Sebastián. After Don Sebastián's death in 1875, his heirs began to sell works from his collections. The painting was owned by his widow, the Infanta María Cristina de Borbón until her death in 1902, and then was lent by the Infanta's heirs to the Museo del Prado in Madrid in 1902–1904.In 1904, the American painter Mary Cassatt persuaded the renowned Parisian art dealer Paul Durand–Ruel to purchase the painting, with the financing provided by H. O. Havemeyer. In 1906, the painting was sold to the Art Institute of Chicago.

Infanta María Cristina of Spain (1833–1902)

Category:Paintings of the Assumption of the Virgin


Assumption of the Virgin (El Greco)

Prompt: In Assumption of the Virgin (El Greco), how is the Provenance discussed?

The painting was commissioned for the convent church of Santo Domingo el Antiguo in Toledo by Don Diego de Castilla in 1577. The Assumption remained in the church for over 200 years.Around 1830 the painting was sold to the Infante Don Sebastián Gabriel de Borbón y Braganza in Madrid. In 1835 Spanish government confiscated the painting from him and installed in the Museo Nacional de Trinidad in Madrid, however in 1861 the painting was returned to Don Sebastián. After Don Sebastián's death in 1875, his heirs began to sell works from his collections. The painting was owned by his widow, the Infanta María Cristina de Borbón until her death in 1902, and then was lent by the Infanta's heirs to the Museo del Prado in Madrid in 1902–1904.In 1904, the American painter Mary Cassatt persuaded the renowned Parisian art dealer Paul Durand–Ruel to purchase the painting, with the financing provided by H. O. Havemeyer. In 1906, the painting was sold to the Art Institute of Chicago.

Infanta María Cristina of Spain (1833–1902)

Category:Paintings of the Assumption of the Virgin


Assumption of the Virgin (El Greco)

Prompt: Focus on Assumption of the Virgin (El Greco) and explain the Exhibitions.

Pau, Salons of the former Asile de Pau, Paintings belonging to the heirs of the late Msg. the Child don Sébastien de Bourbon and Braganza, September 1876, cat. 668.Madrid, Museo Nacional de Pintura y Escultura, Exposición de las obras by Domenico Theotocópouli, llamado El Greco, April 30 - July 31, 1902, cat. 6.Art Institute of Chicago, A Century of Progress, June 1 – November 1, 1933, cat. 169, pl. 25.Art Institute of Chicago, A Century of Progress, June 1 – November 1, 1934, cat. 70.Paris, Grand Palais, Greco, October 14, 2019 – February 10, 2020, cat. 73.Art Institute of Chicago, El Greco: Ambition and Defiance, March 7 – June 21, 2020, cat. 14.

Infanta María Cristina of Spain (1833–1902)

Infante Don Sebastián Gabriel de Borbón y Braganza

Category:Paintings of the Assumption of the Virgin


Assumption of the Virgin (El Greco)

Prompt: Explain the Exhibitions of this artwork, Assumption of the Virgin (El Greco).

Pau, Salons of the former Asile de Pau, Paintings belonging to the heirs of the late Msg. the Child don Sébastien de Bourbon and Braganza, September 1876, cat. 668.Madrid, Museo Nacional de Pintura y Escultura, Exposición de las obras by Domenico Theotocópouli, llamado El Greco, April 30 - July 31, 1902, cat. 6.Art Institute of Chicago, A Century of Progress, June 1 – November 1, 1933, cat. 169, pl. 25.Art Institute of Chicago, A Century of Progress, June 1 – November 1, 1934, cat. 70.Paris, Grand Palais, Greco, October 14, 2019 – February 10, 2020, cat. 73.Art Institute of Chicago, El Greco: Ambition and Defiance, March 7 – June 21, 2020, cat. 14.

Infanta María Cristina of Spain (1833–1902)

Infante Don Sebastián Gabriel de Borbón y Braganza

Category:Paintings of the Assumption of the Virgin


Assumption of the Virgin (El Greco)

Prompt: How does Assumption of the Virgin (El Greco) explain its Exhibitions?

Pau, Salons of the former Asile de Pau, Paintings belonging to the heirs of the late Msg. the Child don Sébastien de Bourbon and Braganza, September 1876, cat. 668.Madrid, Museo Nacional de Pintura y Escultura, Exposición de las obras by Domenico Theotocópouli, llamado El Greco, April 30 - July 31, 1902, cat. 6.Art Institute of Chicago, A Century of Progress, June 1 – November 1, 1933, cat. 169, pl. 25.Art Institute of Chicago, A Century of Progress, June 1 – November 1, 1934, cat. 70.Paris, Grand Palais, Greco, October 14, 2019 – February 10, 2020, cat. 73.Art Institute of Chicago, El Greco: Ambition and Defiance, March 7 – June 21, 2020, cat. 14.

Infanta María Cristina of Spain (1833–1902)

Infante Don Sebastián Gabriel de Borbón y Braganza

Category:Paintings of the Assumption of the Virgin


Assumption of the Virgin (El Greco)

Prompt: In Assumption of the Virgin (El Greco), how is the Exhibitions discussed?

Pau, Salons of the former Asile de Pau, Paintings belonging to the heirs of the late Msg. the Child don Sébastien de Bourbon and Braganza, September 1876, cat. 668.Madrid, Museo Nacional de Pintura y Escultura, Exposición de las obras by Domenico Theotocópouli, llamado El Greco, April 30 - July 31, 1902, cat. 6.Art Institute of Chicago, A Century of Progress, June 1 – November 1, 1933, cat. 169, pl. 25.Art Institute of Chicago, A Century of Progress, June 1 – November 1, 1934, cat. 70.Paris, Grand Palais, Greco, October 14, 2019 – February 10, 2020, cat. 73.Art Institute of Chicago, El Greco: Ambition and Defiance, March 7 – June 21, 2020, cat. 14.

Infanta María Cristina of Spain (1833–1902)

Infante Don Sebastián Gabriel de Borbón y Braganza

Category:Paintings of the Assumption of the Virgin


Prompt: Focus on Echo and Narcissus (Waterhouse painting) and explain the abstract.

Echo and Narcissus is a 1903 oil painting by John William Waterhouse. It illustrates the myth of Echo and Narcissus from Ovid's Metamorphoses.John William Waterhouse (1847–1917) was an English painter who, because of his style and themes, is generally classified as a Pre-Raphaelite. He painted over 200 works, mainly in the genres of classical mythology, and of historical or literary subjects. One of his common themes is the femme fatale, the woman who ensnares a man.In Ovid's version of the myth, Narcissus was the beautiful son of the river god Cephissus and the nymph Liriope. His parents were told that he would live to an old age if he did not look at himself. He rejected all the nymphs and women who fell in love with him. One of these was the nymph Echo, who could only repeat the words of others. She was so upset by her rejection that she withdrew from life and wasted away until all that was left was a whisper. Her prayers were heard by the goddess Nemesis who caused Narcissus to fall in love with his own reflection in a pool of water. He continued to look at his reflection until he died. A narcissus flower grew on the spot where he died.The painting is set in an idyllic wooded landscape beside a stream with rocky edges. The young Narcissus is lying prone, with his head over the water, fascinated by his own reflection. He is half-clad in a red robe, symbolising his flaming self-desire. The nymph Echo sits nearby across the stream, clasping a tree with her right hand, gazing at Narcissus in despair. She is symbolically separated from Narcissus, who does not look back towards her. Her cramped posture reflects her unrequited love. She is wearing a pink robe that has fallen off the left shoulder to reveal one breast; the milder pink of her robe reflects less passionate, smouldering love for Narcissus. Near her grow some yellow flag irises, Iris pseudacorus, and she wears a red poppy in her auburn hair. Some white narcissi have emerged from the grass beside the youth's foot, and a yellow water lily, Nuphar lutea, is in the water.The painting is in oils on canvas and it measures 109.2 cm × 189.2 cm (43.0 in × 74.5 in). It was exhibited at the Royal Academy in 1903. It forms part of the Victorian collection in the Walker Art Gallery in Liverpool, Merseyside, England, having been purchased by the museum in 1903.

Category:Paintings in the Walker Art Gallery

Category:Paintings by John William Waterhouse

List of paintings by John William Waterhouse

Category:Paintings based on Metamorphoses


Prompt: Explain the abstract of this artwork, Echo and Narcissus (Waterhouse painting).

Echo and Narcissus is a 1903 oil painting by John William Waterhouse. It illustrates the myth of Echo and Narcissus from Ovid's Metamorphoses.John William Waterhouse (1847–1917) was an English painter who, because of his style and themes, is generally classified as a Pre-Raphaelite. He painted over 200 works, mainly in the genres of classical mythology, and of historical or literary subjects. One of his common themes is the femme fatale, the woman who ensnares a man.In Ovid's version of the myth, Narcissus was the beautiful son of the river god Cephissus and the nymph Liriope. His parents were told that he would live to an old age if he did not look at himself. He rejected all the nymphs and women who fell in love with him. One of these was the nymph Echo, who could only repeat the words of others. She was so upset by her rejection that she withdrew from life and wasted away until all that was left was a whisper. Her prayers were heard by the goddess Nemesis who caused Narcissus to fall in love with his own reflection in a pool of water. He continued to look at his reflection until he died. A narcissus flower grew on the spot where he died.The painting is set in an idyllic wooded landscape beside a stream with rocky edges. The young Narcissus is lying prone, with his head over the water, fascinated by his own reflection. He is half-clad in a red robe, symbolising his flaming self-desire. The nymph Echo sits nearby across the stream, clasping a tree with her right hand, gazing at Narcissus in despair. She is symbolically separated from Narcissus, who does not look back towards her. Her cramped posture reflects her unrequited love. She is wearing a pink robe that has fallen off the left shoulder to reveal one breast; the milder pink of her robe reflects less passionate, smouldering love for Narcissus. Near her grow some yellow flag irises, Iris pseudacorus, and she wears a red poppy in her auburn hair. Some white narcissi have emerged from the grass beside the youth's foot, and a yellow water lily, Nuphar lutea, is in the water.The painting is in oils on canvas and it measures 109.2 cm × 189.2 cm (43.0 in × 74.5 in). It was exhibited at the Royal Academy in 1903. It forms part of the Victorian collection in the Walker Art Gallery in Liverpool, Merseyside, England, having been purchased by the museum in 1903.

Category:Paintings in the Walker Art Gallery

Category:Paintings by John William Waterhouse

List of paintings by John William Waterhouse

Category:Paintings based on Metamorphoses


Prompt: How does Echo and Narcissus (Waterhouse painting) explain its abstract?

Echo and Narcissus is a 1903 oil painting by John William Waterhouse. It illustrates the myth of Echo and Narcissus from Ovid's Metamorphoses.John William Waterhouse (1847–1917) was an English painter who, because of his style and themes, is generally classified as a Pre-Raphaelite. He painted over 200 works, mainly in the genres of classical mythology, and of historical or literary subjects. One of his common themes is the femme fatale, the woman who ensnares a man.In Ovid's version of the myth, Narcissus was the beautiful son of the river god Cephissus and the nymph Liriope. His parents were told that he would live to an old age if he did not look at himself. He rejected all the nymphs and women who fell in love with him. One of these was the nymph Echo, who could only repeat the words of others. She was so upset by her rejection that she withdrew from life and wasted away until all that was left was a whisper. Her prayers were heard by the goddess Nemesis who caused Narcissus to fall in love with his own reflection in a pool of water. He continued to look at his reflection until he died. A narcissus flower grew on the spot where he died.The painting is set in an idyllic wooded landscape beside a stream with rocky edges. The young Narcissus is lying prone, with his head over the water, fascinated by his own reflection. He is half-clad in a red robe, symbolising his flaming self-desire. The nymph Echo sits nearby across the stream, clasping a tree with her right hand, gazing at Narcissus in despair. She is symbolically separated from Narcissus, who does not look back towards her. Her cramped posture reflects her unrequited love. She is wearing a pink robe that has fallen off the left shoulder to reveal one breast; the milder pink of her robe reflects less passionate, smouldering love for Narcissus. Near her grow some yellow flag irises, Iris pseudacorus, and she wears a red poppy in her auburn hair. Some white narcissi have emerged from the grass beside the youth's foot, and a yellow water lily, Nuphar lutea, is in the water.The painting is in oils on canvas and it measures 109.2 cm × 189.2 cm (43.0 in × 74.5 in). It was exhibited at the Royal Academy in 1903. It forms part of the Victorian collection in the Walker Art Gallery in Liverpool, Merseyside, England, having been purchased by the museum in 1903.

Category:Paintings in the Walker Art Gallery

Category:Paintings by John William Waterhouse

List of paintings by John William Waterhouse

Category:Paintings based on Metamorphoses


Prompt: In Echo and Narcissus (Waterhouse painting), how is the abstract discussed?

Echo and Narcissus is a 1903 oil painting by John William Waterhouse. It illustrates the myth of Echo and Narcissus from Ovid's Metamorphoses.John William Waterhouse (1847–1917) was an English painter who, because of his style and themes, is generally classified as a Pre-Raphaelite. He painted over 200 works, mainly in the genres of classical mythology, and of historical or literary subjects. One of his common themes is the femme fatale, the woman who ensnares a man.In Ovid's version of the myth, Narcissus was the beautiful son of the river god Cephissus and the nymph Liriope. His parents were told that he would live to an old age if he did not look at himself. He rejected all the nymphs and women who fell in love with him. One of these was the nymph Echo, who could only repeat the words of others. She was so upset by her rejection that she withdrew from life and wasted away until all that was left was a whisper. Her prayers were heard by the goddess Nemesis who caused Narcissus to fall in love with his own reflection in a pool of water. He continued to look at his reflection until he died. A narcissus flower grew on the spot where he died.The painting is set in an idyllic wooded landscape beside a stream with rocky edges. The young Narcissus is lying prone, with his head over the water, fascinated by his own reflection. He is half-clad in a red robe, symbolising his flaming self-desire. The nymph Echo sits nearby across the stream, clasping a tree with her right hand, gazing at Narcissus in despair. She is symbolically separated from Narcissus, who does not look back towards her. Her cramped posture reflects her unrequited love. She is wearing a pink robe that has fallen off the left shoulder to reveal one breast; the milder pink of her robe reflects less passionate, smouldering love for Narcissus. Near her grow some yellow flag irises, Iris pseudacorus, and she wears a red poppy in her auburn hair. Some white narcissi have emerged from the grass beside the youth's foot, and a yellow water lily, Nuphar lutea, is in the water.The painting is in oils on canvas and it measures 109.2 cm × 189.2 cm (43.0 in × 74.5 in). It was exhibited at the Royal Academy in 1903. It forms part of the Victorian collection in the Walker Art Gallery in Liverpool, Merseyside, England, having been purchased by the museum in 1903.

Category:Paintings in the Walker Art Gallery

Category:Paintings by John William Waterhouse

List of paintings by John William Waterhouse

Category:Paintings based on Metamorphoses