Equestrian statue of James B. McPherson

Prompt: In Equestrian statue of James B. McPherson, how is the Description discussed?

The memorial shows General McPherson sitting upon a horse, turned slightly to the proper right as if surveying a battlefield. He is holding the horses reins in his proper left hand and a pair of field glasses in his proper right hand. His horse, caught in mid-stride, walks with its proper right foot raised and its head turned down. The statue sits upon a rectangular granite base (H. 12 ft (4 m)., D. 6 ft (2 m).). The base is adorned with a ring of small wreaths around the top and a ring of stars around the bottom, along with a ring of cannonballs.The west side of the base is inscribed with:The east side of the base is inscribed with:ERECTED BY HIS COMRADESOF THE SOCIETY OFTHE ARMY OF THE TENNESSEE

Category:Equestrian statues in Washington, D.C.

Category:Bronze sculptures in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 2

Category:Civil War Monuments in Washington, D.C.


Equestrian statue of James B. McPherson

Prompt: Focus on Equestrian statue of James B. McPherson and explain the Information.

Confederate cannons that were captured at the Battle of Atlanta were used in the casting of the piece. The base was designed by Smithmeyer & Pelz and Westham Granite Works provided the stone work.The sculpture was authorized by the United States Congress on March 3, 1875, and was paid for by the Society of the Army of the Tennessee. Major General James B. McPherson was installed in Scott Square (now McPherson Square) on October 18, 1876, on the 11th annual reunion of the Army of the Tennessee.

Category:Equestrian statues in Washington, D.C.

Category:Bronze sculptures in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 2

Category:Civil War Monuments in Washington, D.C.


Equestrian statue of James B. McPherson

Prompt: Explain the Information of this artwork, Equestrian statue of James B. McPherson.

Confederate cannons that were captured at the Battle of Atlanta were used in the casting of the piece. The base was designed by Smithmeyer & Pelz and Westham Granite Works provided the stone work.The sculpture was authorized by the United States Congress on March 3, 1875, and was paid for by the Society of the Army of the Tennessee. Major General James B. McPherson was installed in Scott Square (now McPherson Square) on October 18, 1876, on the 11th annual reunion of the Army of the Tennessee.

Category:Equestrian statues in Washington, D.C.

Category:Bronze sculptures in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 2

Category:Civil War Monuments in Washington, D.C.


Equestrian statue of James B. McPherson

Prompt: How does Equestrian statue of James B. McPherson explain its Information?

Confederate cannons that were captured at the Battle of Atlanta were used in the casting of the piece. The base was designed by Smithmeyer & Pelz and Westham Granite Works provided the stone work.The sculpture was authorized by the United States Congress on March 3, 1875, and was paid for by the Society of the Army of the Tennessee. Major General James B. McPherson was installed in Scott Square (now McPherson Square) on October 18, 1876, on the 11th annual reunion of the Army of the Tennessee.

Category:Equestrian statues in Washington, D.C.

Category:Bronze sculptures in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 2

Category:Civil War Monuments in Washington, D.C.


Equestrian statue of James B. McPherson

Prompt: In Equestrian statue of James B. McPherson, how is the Information discussed?

Confederate cannons that were captured at the Battle of Atlanta were used in the casting of the piece. The base was designed by Smithmeyer & Pelz and Westham Granite Works provided the stone work.The sculpture was authorized by the United States Congress on March 3, 1875, and was paid for by the Society of the Army of the Tennessee. Major General James B. McPherson was installed in Scott Square (now McPherson Square) on October 18, 1876, on the 11th annual reunion of the Army of the Tennessee.

Category:Equestrian statues in Washington, D.C.

Category:Bronze sculptures in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 2

Category:Civil War Monuments in Washington, D.C.


Equestrian statue of James B. McPherson

Prompt: Focus on Equestrian statue of James B. McPherson and explain the Condition.

This sculpture was surveyed in June 1993 for its condition and was decided that it was "well maintained."

Category:Equestrian statues in Washington, D.C.

Category:Bronze sculptures in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 2

Category:Civil War Monuments in Washington, D.C.


Equestrian statue of James B. McPherson

Prompt: Explain the Condition of this artwork, Equestrian statue of James B. McPherson.

This sculpture was surveyed in June 1993 for its condition and was decided that it was "well maintained."

Category:Equestrian statues in Washington, D.C.

Category:Bronze sculptures in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 2

Category:Civil War Monuments in Washington, D.C.


Equestrian statue of James B. McPherson

Prompt: How does Equestrian statue of James B. McPherson explain its Condition?

This sculpture was surveyed in June 1993 for its condition and was decided that it was "well maintained."

Category:Equestrian statues in Washington, D.C.

Category:Bronze sculptures in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 2

Category:Civil War Monuments in Washington, D.C.


Equestrian statue of James B. McPherson

Prompt: In Equestrian statue of James B. McPherson, how is the Condition discussed?

This sculpture was surveyed in June 1993 for its condition and was decided that it was "well maintained."

Category:Equestrian statues in Washington, D.C.

Category:Bronze sculptures in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 2

Category:Civil War Monuments in Washington, D.C.


Mimir (sculpture)

Prompt: Focus on Mimir (sculpture) and explain the abstract.

Mimir is an outdoor bronze and concrete sculpture by Keith Jellum, installed in northwest Portland, Oregon, United States. The 1980 sculpture was commissioned by the Portland Development Commission and Tom Walsh of Tom Walsh Construction, and is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Northwest District, Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Mimir (sculpture)

Prompt: Explain the abstract of this artwork, Mimir (sculpture).

Mimir is an outdoor bronze and concrete sculpture by Keith Jellum, installed in northwest Portland, Oregon, United States. The 1980 sculpture was commissioned by the Portland Development Commission and Tom Walsh of Tom Walsh Construction, and is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Northwest District, Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Mimir (sculpture)

Prompt: How does Mimir (sculpture) explain its abstract?

Mimir is an outdoor bronze and concrete sculpture by Keith Jellum, installed in northwest Portland, Oregon, United States. The 1980 sculpture was commissioned by the Portland Development Commission and Tom Walsh of Tom Walsh Construction, and is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Northwest District, Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Mimir (sculpture)

Prompt: In Mimir (sculpture), how is the abstract discussed?

Mimir is an outdoor bronze and concrete sculpture by Keith Jellum, installed in northwest Portland, Oregon, United States. The 1980 sculpture was commissioned by the Portland Development Commission and Tom Walsh of Tom Walsh Construction, and is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Northwest District, Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Mimir (sculpture)

Prompt: Focus on Mimir (sculpture) and explain the Description and history.

Mimir is an 8-foot (2.4 m) bronze and concrete sculpture designed by Portland artist Keith Jellum, whose other works in the city include Electronic Poet (1984) and Transcendence, a fish sculpture above Southpark Seafood at Southwest Salmon Street and Ninth Avenue. Mimir is based on the figure of the same name in Norse mythology, renowned for his knowledge and wisdom, and who is beheaded during the Æsir–Vanir War. Afterward, the god Odin carries around Mímir's head, which serves as an oracle and recites secret knowledge and counsel to him. Jennifer Anderson of the Portland Tribune said the sculpture is a "combination of Norse mythology, gibberish, fish and space creature". In 2007, Jellum recalled of its origin: "I'm not sure where [the image] came from. It's just at the time I was doing a whole lot of drawings, and it just popped out and sort of appealed to me. It's part fish, part space creature."Mimir was installed at Northwest 27th Avenue between Northwest Upshur and Thurman Streets in 1980, after being commissioned by the Portland Development Commission and Tom Walsh of Tom Walsh Construction. The abstract sculpture measures approximately 24 inches (61 cm) x 15 inches (38 cm) x 13 inches (33 cm), which rests on a concrete and stone base that measures 7 feet (2.1 m) x 30 inches (76 cm) x 30 inches (76 cm). The Smithsonian Institution described the work as follows: "Decorative obelisk with a mask mounted at the top. The mask has a cone-like nose and tusks. It wears a layered breastplate with shoulder pads." The base includes a plaque with no legible text. Anderson described the plaque as "a few lines of illegible chicken scratch as if it's an alien artifact that landed in the middle of the city." Jellum described the hieroglyphic inscription as a "play upon plaques", explaining: "You see all these plaques around and they give all this 'important' information. I thought it was just irrelevant to the piece. I like the idea of putting something up there that didn't have any information on it."The sculpture's condition was deemed "treatment needed" by Smithsonian's "Save Outdoor Sculpture!" program in October 1993. It is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Northwest District, Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Mimir (sculpture)

Prompt: Explain the Description and history of this artwork, Mimir (sculpture).

Mimir is an 8-foot (2.4 m) bronze and concrete sculpture designed by Portland artist Keith Jellum, whose other works in the city include Electronic Poet (1984) and Transcendence, a fish sculpture above Southpark Seafood at Southwest Salmon Street and Ninth Avenue. Mimir is based on the figure of the same name in Norse mythology, renowned for his knowledge and wisdom, and who is beheaded during the Æsir–Vanir War. Afterward, the god Odin carries around Mímir's head, which serves as an oracle and recites secret knowledge and counsel to him. Jennifer Anderson of the Portland Tribune said the sculpture is a "combination of Norse mythology, gibberish, fish and space creature". In 2007, Jellum recalled of its origin: "I'm not sure where [the image] came from. It's just at the time I was doing a whole lot of drawings, and it just popped out and sort of appealed to me. It's part fish, part space creature."Mimir was installed at Northwest 27th Avenue between Northwest Upshur and Thurman Streets in 1980, after being commissioned by the Portland Development Commission and Tom Walsh of Tom Walsh Construction. The abstract sculpture measures approximately 24 inches (61 cm) x 15 inches (38 cm) x 13 inches (33 cm), which rests on a concrete and stone base that measures 7 feet (2.1 m) x 30 inches (76 cm) x 30 inches (76 cm). The Smithsonian Institution described the work as follows: "Decorative obelisk with a mask mounted at the top. The mask has a cone-like nose and tusks. It wears a layered breastplate with shoulder pads." The base includes a plaque with no legible text. Anderson described the plaque as "a few lines of illegible chicken scratch as if it's an alien artifact that landed in the middle of the city." Jellum described the hieroglyphic inscription as a "play upon plaques", explaining: "You see all these plaques around and they give all this 'important' information. I thought it was just irrelevant to the piece. I like the idea of putting something up there that didn't have any information on it."The sculpture's condition was deemed "treatment needed" by Smithsonian's "Save Outdoor Sculpture!" program in October 1993. It is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Northwest District, Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Mimir (sculpture)

Prompt: How does Mimir (sculpture) explain its Description and history?

Mimir is an 8-foot (2.4 m) bronze and concrete sculpture designed by Portland artist Keith Jellum, whose other works in the city include Electronic Poet (1984) and Transcendence, a fish sculpture above Southpark Seafood at Southwest Salmon Street and Ninth Avenue. Mimir is based on the figure of the same name in Norse mythology, renowned for his knowledge and wisdom, and who is beheaded during the Æsir–Vanir War. Afterward, the god Odin carries around Mímir's head, which serves as an oracle and recites secret knowledge and counsel to him. Jennifer Anderson of the Portland Tribune said the sculpture is a "combination of Norse mythology, gibberish, fish and space creature". In 2007, Jellum recalled of its origin: "I'm not sure where [the image] came from. It's just at the time I was doing a whole lot of drawings, and it just popped out and sort of appealed to me. It's part fish, part space creature."Mimir was installed at Northwest 27th Avenue between Northwest Upshur and Thurman Streets in 1980, after being commissioned by the Portland Development Commission and Tom Walsh of Tom Walsh Construction. The abstract sculpture measures approximately 24 inches (61 cm) x 15 inches (38 cm) x 13 inches (33 cm), which rests on a concrete and stone base that measures 7 feet (2.1 m) x 30 inches (76 cm) x 30 inches (76 cm). The Smithsonian Institution described the work as follows: "Decorative obelisk with a mask mounted at the top. The mask has a cone-like nose and tusks. It wears a layered breastplate with shoulder pads." The base includes a plaque with no legible text. Anderson described the plaque as "a few lines of illegible chicken scratch as if it's an alien artifact that landed in the middle of the city." Jellum described the hieroglyphic inscription as a "play upon plaques", explaining: "You see all these plaques around and they give all this 'important' information. I thought it was just irrelevant to the piece. I like the idea of putting something up there that didn't have any information on it."The sculpture's condition was deemed "treatment needed" by Smithsonian's "Save Outdoor Sculpture!" program in October 1993. It is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Northwest District, Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Mimir (sculpture)

Prompt: In Mimir (sculpture), how is the Description and history discussed?

Mimir is an 8-foot (2.4 m) bronze and concrete sculpture designed by Portland artist Keith Jellum, whose other works in the city include Electronic Poet (1984) and Transcendence, a fish sculpture above Southpark Seafood at Southwest Salmon Street and Ninth Avenue. Mimir is based on the figure of the same name in Norse mythology, renowned for his knowledge and wisdom, and who is beheaded during the Æsir–Vanir War. Afterward, the god Odin carries around Mímir's head, which serves as an oracle and recites secret knowledge and counsel to him. Jennifer Anderson of the Portland Tribune said the sculpture is a "combination of Norse mythology, gibberish, fish and space creature". In 2007, Jellum recalled of its origin: "I'm not sure where [the image] came from. It's just at the time I was doing a whole lot of drawings, and it just popped out and sort of appealed to me. It's part fish, part space creature."Mimir was installed at Northwest 27th Avenue between Northwest Upshur and Thurman Streets in 1980, after being commissioned by the Portland Development Commission and Tom Walsh of Tom Walsh Construction. The abstract sculpture measures approximately 24 inches (61 cm) x 15 inches (38 cm) x 13 inches (33 cm), which rests on a concrete and stone base that measures 7 feet (2.1 m) x 30 inches (76 cm) x 30 inches (76 cm). The Smithsonian Institution described the work as follows: "Decorative obelisk with a mask mounted at the top. The mask has a cone-like nose and tusks. It wears a layered breastplate with shoulder pads." The base includes a plaque with no legible text. Anderson described the plaque as "a few lines of illegible chicken scratch as if it's an alien artifact that landed in the middle of the city." Jellum described the hieroglyphic inscription as a "play upon plaques", explaining: "You see all these plaques around and they give all this 'important' information. I thought it was just irrelevant to the piece. I like the idea of putting something up there that didn't have any information on it."The sculpture's condition was deemed "treatment needed" by Smithsonian's "Save Outdoor Sculpture!" program in October 1993. It is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Northwest District, Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Mimir (sculpture)

Prompt: Focus on Mimir (sculpture) and explain the Reception.

Anderson of the Portland Tribune contributor called the sculpture a "curiosity" and "whimsical", and said the plaque adds to its mystique.

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Northwest District, Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Mimir (sculpture)

Prompt: Explain the Reception of this artwork, Mimir (sculpture).

Anderson of the Portland Tribune contributor called the sculpture a "curiosity" and "whimsical", and said the plaque adds to its mystique.

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Northwest District, Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Mimir (sculpture)

Prompt: How does Mimir (sculpture) explain its Reception?

Anderson of the Portland Tribune contributor called the sculpture a "curiosity" and "whimsical", and said the plaque adds to its mystique.

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Northwest District, Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Mimir (sculpture)

Prompt: In Mimir (sculpture), how is the Reception discussed?

Anderson of the Portland Tribune contributor called the sculpture a "curiosity" and "whimsical", and said the plaque adds to its mystique.

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Northwest District, Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


The Face of War

Prompt: Focus on The Face of War and explain the abstract.

The Face of War (The Visage of War; in Spanish La Cara de la Guerra) is an oil painting by the Spanish surrealist Salvador Dalí, from 1940. It was painted during a brief period when the artist lived in California. The painting is owned by the Museum Boijmans Van Beuningen, in Rotterdam

Category:Paintings in the Museum Boijmans Van Beuningen


The Face of War

Prompt: Explain the abstract of this artwork, The Face of War.

The Face of War (The Visage of War; in Spanish La Cara de la Guerra) is an oil painting by the Spanish surrealist Salvador Dalí, from 1940. It was painted during a brief period when the artist lived in California. The painting is owned by the Museum Boijmans Van Beuningen, in Rotterdam

Category:Paintings in the Museum Boijmans Van Beuningen


The Face of War

Prompt: How does The Face of War explain its abstract?

The Face of War (The Visage of War; in Spanish La Cara de la Guerra) is an oil painting by the Spanish surrealist Salvador Dalí, from 1940. It was painted during a brief period when the artist lived in California. The painting is owned by the Museum Boijmans Van Beuningen, in Rotterdam

Category:Paintings in the Museum Boijmans Van Beuningen


The Face of War

Prompt: In The Face of War, how is the abstract discussed?

The Face of War (The Visage of War; in Spanish La Cara de la Guerra) is an oil painting by the Spanish surrealist Salvador Dalí, from 1940. It was painted during a brief period when the artist lived in California. The painting is owned by the Museum Boijmans Van Beuningen, in Rotterdam

Category:Paintings in the Museum Boijmans Van Beuningen


The Face of War

Prompt: Focus on The Face of War and explain the History and description.

The trauma and the view of war had often served as inspiration for Dalí's work. He sometimes believed his artistic vision to be premonitions of war. This work was painted between the end of the Spanish Civil War [1936] and the beginning of the Second World War (1939).The painting depicts a withered, disembodied head hovering against a barren desert landscape. The face is withered like that of a corpse and wears an expression of fear and misery. In its mouth and eye sockets, there are identical faces. In their mouths and eyes, there are more identical faces in a process implied to be infinite. Swarming around the large face are biting serpents. In the lower right corner is a handprint that Dalí insisted was left by his own hand.

Category:Paintings in the Museum Boijmans Van Beuningen


The Face of War

Prompt: Explain the History and description of this artwork, The Face of War.

The trauma and the view of war had often served as inspiration for Dalí's work. He sometimes believed his artistic vision to be premonitions of war. This work was painted between the end of the Spanish Civil War [1936] and the beginning of the Second World War (1939).The painting depicts a withered, disembodied head hovering against a barren desert landscape. The face is withered like that of a corpse and wears an expression of fear and misery. In its mouth and eye sockets, there are identical faces. In their mouths and eyes, there are more identical faces in a process implied to be infinite. Swarming around the large face are biting serpents. In the lower right corner is a handprint that Dalí insisted was left by his own hand.

Category:Paintings in the Museum Boijmans Van Beuningen


The Face of War

Prompt: How does The Face of War explain its History and description?

The trauma and the view of war had often served as inspiration for Dalí's work. He sometimes believed his artistic vision to be premonitions of war. This work was painted between the end of the Spanish Civil War [1936] and the beginning of the Second World War (1939).The painting depicts a withered, disembodied head hovering against a barren desert landscape. The face is withered like that of a corpse and wears an expression of fear and misery. In its mouth and eye sockets, there are identical faces. In their mouths and eyes, there are more identical faces in a process implied to be infinite. Swarming around the large face are biting serpents. In the lower right corner is a handprint that Dalí insisted was left by his own hand.

Category:Paintings in the Museum Boijmans Van Beuningen


The Face of War

Prompt: In The Face of War, how is the History and description discussed?

The trauma and the view of war had often served as inspiration for Dalí's work. He sometimes believed his artistic vision to be premonitions of war. This work was painted between the end of the Spanish Civil War [1936] and the beginning of the Second World War (1939).The painting depicts a withered, disembodied head hovering against a barren desert landscape. The face is withered like that of a corpse and wears an expression of fear and misery. In its mouth and eye sockets, there are identical faces. In their mouths and eyes, there are more identical faces in a process implied to be infinite. Swarming around the large face are biting serpents. In the lower right corner is a handprint that Dalí insisted was left by his own hand.

Category:Paintings in the Museum Boijmans Van Beuningen


L.O.V.E. (sculpture)

Prompt: Focus on L.O.V.E. (sculpture) and explain the abstract.

L.O.V.E., commonly known as Il Dito (Italian for 'the finger') is a sculpture by Italian artist Maurizio Cattelan consisting of a hand with all the fingers severed with the exception of the middle finger. The sculpture is located in Piazza degli Affari in (Milan), where the Italian stock exchange is located. The name L.O.V.E. is the acronym of "Libertà, Odio, Vendetta, Eternità" ("Freedom, Hatred, Revenge, Eternity"). The sculpture, built in 2010, was originally exhibited on the occasion of Cattelan's retrospective at The Royal Palace of Milan. After the exhibition closed, the city Councillor for Culture Massimiliano Finazzer Flory proposed the piece to be permanent. The business community objected to the idea but after long deliberations, facilitated by Cattelan's decision to donate the sculpture, L.O.V.E. was eventually given permanent status.Maurizio Cattelan never disclosed the exact meaning of the sculpture. The two most accepted explanations are that it represents both a critique of the Fascist salute and that it is designed as a protest against financial institutions after the financial crisis of 2007–2008. Indeed, the stock exchange building, Palazzo Mezzanotte, was built during fascism by architect Paolo Mezzanotte and completed in 1932.

Category:Monuments and memorials in Milan

Category:Sculptures by Maurizio Cattelan

Category:Obscenity controversies in sculpture


L.O.V.E. (sculpture)

Prompt: Explain the abstract of this artwork, L.O.V.E. (sculpture).

L.O.V.E., commonly known as Il Dito (Italian for 'the finger') is a sculpture by Italian artist Maurizio Cattelan consisting of a hand with all the fingers severed with the exception of the middle finger. The sculpture is located in Piazza degli Affari in (Milan), where the Italian stock exchange is located. The name L.O.V.E. is the acronym of "Libertà, Odio, Vendetta, Eternità" ("Freedom, Hatred, Revenge, Eternity"). The sculpture, built in 2010, was originally exhibited on the occasion of Cattelan's retrospective at The Royal Palace of Milan. After the exhibition closed, the city Councillor for Culture Massimiliano Finazzer Flory proposed the piece to be permanent. The business community objected to the idea but after long deliberations, facilitated by Cattelan's decision to donate the sculpture, L.O.V.E. was eventually given permanent status.Maurizio Cattelan never disclosed the exact meaning of the sculpture. The two most accepted explanations are that it represents both a critique of the Fascist salute and that it is designed as a protest against financial institutions after the financial crisis of 2007–2008. Indeed, the stock exchange building, Palazzo Mezzanotte, was built during fascism by architect Paolo Mezzanotte and completed in 1932.

Category:Monuments and memorials in Milan

Category:Sculptures by Maurizio Cattelan

Category:Obscenity controversies in sculpture


L.O.V.E. (sculpture)

Prompt: How does L.O.V.E. (sculpture) explain its abstract?

L.O.V.E., commonly known as Il Dito (Italian for 'the finger') is a sculpture by Italian artist Maurizio Cattelan consisting of a hand with all the fingers severed with the exception of the middle finger. The sculpture is located in Piazza degli Affari in (Milan), where the Italian stock exchange is located. The name L.O.V.E. is the acronym of "Libertà, Odio, Vendetta, Eternità" ("Freedom, Hatred, Revenge, Eternity"). The sculpture, built in 2010, was originally exhibited on the occasion of Cattelan's retrospective at The Royal Palace of Milan. After the exhibition closed, the city Councillor for Culture Massimiliano Finazzer Flory proposed the piece to be permanent. The business community objected to the idea but after long deliberations, facilitated by Cattelan's decision to donate the sculpture, L.O.V.E. was eventually given permanent status.Maurizio Cattelan never disclosed the exact meaning of the sculpture. The two most accepted explanations are that it represents both a critique of the Fascist salute and that it is designed as a protest against financial institutions after the financial crisis of 2007–2008. Indeed, the stock exchange building, Palazzo Mezzanotte, was built during fascism by architect Paolo Mezzanotte and completed in 1932.

Category:Monuments and memorials in Milan

Category:Sculptures by Maurizio Cattelan

Category:Obscenity controversies in sculpture


L.O.V.E. (sculpture)

Prompt: In L.O.V.E. (sculpture), how is the abstract discussed?

L.O.V.E., commonly known as Il Dito (Italian for 'the finger') is a sculpture by Italian artist Maurizio Cattelan consisting of a hand with all the fingers severed with the exception of the middle finger. The sculpture is located in Piazza degli Affari in (Milan), where the Italian stock exchange is located. The name L.O.V.E. is the acronym of "Libertà, Odio, Vendetta, Eternità" ("Freedom, Hatred, Revenge, Eternity"). The sculpture, built in 2010, was originally exhibited on the occasion of Cattelan's retrospective at The Royal Palace of Milan. After the exhibition closed, the city Councillor for Culture Massimiliano Finazzer Flory proposed the piece to be permanent. The business community objected to the idea but after long deliberations, facilitated by Cattelan's decision to donate the sculpture, L.O.V.E. was eventually given permanent status.Maurizio Cattelan never disclosed the exact meaning of the sculpture. The two most accepted explanations are that it represents both a critique of the Fascist salute and that it is designed as a protest against financial institutions after the financial crisis of 2007–2008. Indeed, the stock exchange building, Palazzo Mezzanotte, was built during fascism by architect Paolo Mezzanotte and completed in 1932.

Category:Monuments and memorials in Milan

Category:Sculptures by Maurizio Cattelan

Category:Obscenity controversies in sculpture


Luminaries of Pantheism

Prompt: Focus on Luminaries of Pantheism and explain the abstract.

Luminaries of Pantheism is a 75-foot-long (23 m) mural by Levi Ponce, commissioned in 2015  by The Paradise Project for its headquarters in Venice, Los Angeles, in the U.S. state of California.

Category:Cultural depictions of Carl Jung

Category:Cultural depictions of Emily Dickinson

Category:Cultural depictions of Friedrich Nietzsche

Category:Cultural depictions of Albert Einstein

Category:Cultural depictions of Baruch Spinoza


Luminaries of Pantheism

Prompt: Explain the abstract of this artwork, Luminaries of Pantheism.

Luminaries of Pantheism is a 75-foot-long (23 m) mural by Levi Ponce, commissioned in 2015  by The Paradise Project for its headquarters in Venice, Los Angeles, in the U.S. state of California.

Category:Cultural depictions of Carl Jung

Category:Cultural depictions of Emily Dickinson

Category:Cultural depictions of Friedrich Nietzsche

Category:Cultural depictions of Albert Einstein

Category:Cultural depictions of Baruch Spinoza


Luminaries of Pantheism

Prompt: How does Luminaries of Pantheism explain its abstract?

Luminaries of Pantheism is a 75-foot-long (23 m) mural by Levi Ponce, commissioned in 2015  by The Paradise Project for its headquarters in Venice, Los Angeles, in the U.S. state of California.

Category:Cultural depictions of Carl Jung

Category:Cultural depictions of Emily Dickinson

Category:Cultural depictions of Friedrich Nietzsche

Category:Cultural depictions of Albert Einstein

Category:Cultural depictions of Baruch Spinoza


Luminaries of Pantheism

Prompt: In Luminaries of Pantheism, how is the abstract discussed?

Luminaries of Pantheism is a 75-foot-long (23 m) mural by Levi Ponce, commissioned in 2015  by The Paradise Project for its headquarters in Venice, Los Angeles, in the U.S. state of California.

Category:Cultural depictions of Carl Jung

Category:Cultural depictions of Emily Dickinson

Category:Cultural depictions of Friedrich Nietzsche

Category:Cultural depictions of Albert Einstein

Category:Cultural depictions of Baruch Spinoza


Luminaries of Pantheism

Prompt: Focus on Luminaries of Pantheism and explain the Description and development.

The mural was conceived by the project's founder, Perry Rod, and designed by graphic designer Peter Moriarty. The painting covers an entire wall of the organization's headquarters and depicts sixteen people: Albert Einstein, Alan Watts, Baruch Spinoza, Terence McKenna, Carl Jung, Carl Sagan, Emily Dickinson, Nikola Tesla, Friedrich Nietzsche, Ralph Waldo Emerson, W.E.B. Du Bois, Henry David Thoreau, Elizabeth Cady Stanton, Rumi, Adi Shankara, and Lao Tzu.

Category:Cultural depictions of Carl Jung

Category:Cultural depictions of Emily Dickinson

Category:Cultural depictions of Friedrich Nietzsche

Category:Cultural depictions of Albert Einstein

Category:Cultural depictions of Baruch Spinoza


Luminaries of Pantheism

Prompt: Explain the Description and development of this artwork, Luminaries of Pantheism.

The mural was conceived by the project's founder, Perry Rod, and designed by graphic designer Peter Moriarty. The painting covers an entire wall of the organization's headquarters and depicts sixteen people: Albert Einstein, Alan Watts, Baruch Spinoza, Terence McKenna, Carl Jung, Carl Sagan, Emily Dickinson, Nikola Tesla, Friedrich Nietzsche, Ralph Waldo Emerson, W.E.B. Du Bois, Henry David Thoreau, Elizabeth Cady Stanton, Rumi, Adi Shankara, and Lao Tzu.

Category:Cultural depictions of Carl Jung

Category:Cultural depictions of Emily Dickinson

Category:Cultural depictions of Friedrich Nietzsche

Category:Cultural depictions of Albert Einstein

Category:Cultural depictions of Baruch Spinoza


Luminaries of Pantheism

Prompt: How does Luminaries of Pantheism explain its Description and development?

The mural was conceived by the project's founder, Perry Rod, and designed by graphic designer Peter Moriarty. The painting covers an entire wall of the organization's headquarters and depicts sixteen people: Albert Einstein, Alan Watts, Baruch Spinoza, Terence McKenna, Carl Jung, Carl Sagan, Emily Dickinson, Nikola Tesla, Friedrich Nietzsche, Ralph Waldo Emerson, W.E.B. Du Bois, Henry David Thoreau, Elizabeth Cady Stanton, Rumi, Adi Shankara, and Lao Tzu.

Category:Cultural depictions of Carl Jung

Category:Cultural depictions of Emily Dickinson

Category:Cultural depictions of Friedrich Nietzsche

Category:Cultural depictions of Albert Einstein

Category:Cultural depictions of Baruch Spinoza


Luminaries of Pantheism

Prompt: In Luminaries of Pantheism, how is the Description and development discussed?

The mural was conceived by the project's founder, Perry Rod, and designed by graphic designer Peter Moriarty. The painting covers an entire wall of the organization's headquarters and depicts sixteen people: Albert Einstein, Alan Watts, Baruch Spinoza, Terence McKenna, Carl Jung, Carl Sagan, Emily Dickinson, Nikola Tesla, Friedrich Nietzsche, Ralph Waldo Emerson, W.E.B. Du Bois, Henry David Thoreau, Elizabeth Cady Stanton, Rumi, Adi Shankara, and Lao Tzu.

Category:Cultural depictions of Carl Jung

Category:Cultural depictions of Emily Dickinson

Category:Cultural depictions of Friedrich Nietzsche

Category:Cultural depictions of Albert Einstein

Category:Cultural depictions of Baruch Spinoza


Luminaries of Pantheism

Prompt: Focus on Luminaries of Pantheism and explain the Reception.

A documentary about the mural, Luminaries by film director Ed Moy, was awarded the Audience Award at the Marina Del Rey film festival. It features The Paradise Project's Chairman, board members Nika Avila and Chuck Beebe, mural designer Peter Moriarty, muralist Levi Ponce.

Category:Cultural depictions of Carl Jung

Category:Cultural depictions of Emily Dickinson

Category:Cultural depictions of Friedrich Nietzsche

Category:Cultural depictions of Albert Einstein

Category:Cultural depictions of Baruch Spinoza


Luminaries of Pantheism

Prompt: Explain the Reception of this artwork, Luminaries of Pantheism.

A documentary about the mural, Luminaries by film director Ed Moy, was awarded the Audience Award at the Marina Del Rey film festival. It features The Paradise Project's Chairman, board members Nika Avila and Chuck Beebe, mural designer Peter Moriarty, muralist Levi Ponce.

Category:Cultural depictions of Carl Jung

Category:Cultural depictions of Emily Dickinson

Category:Cultural depictions of Friedrich Nietzsche

Category:Cultural depictions of Albert Einstein

Category:Cultural depictions of Baruch Spinoza


Luminaries of Pantheism

Prompt: How does Luminaries of Pantheism explain its Reception?

A documentary about the mural, Luminaries by film director Ed Moy, was awarded the Audience Award at the Marina Del Rey film festival. It features The Paradise Project's Chairman, board members Nika Avila and Chuck Beebe, mural designer Peter Moriarty, muralist Levi Ponce.

Category:Cultural depictions of Carl Jung

Category:Cultural depictions of Emily Dickinson

Category:Cultural depictions of Friedrich Nietzsche

Category:Cultural depictions of Albert Einstein

Category:Cultural depictions of Baruch Spinoza


Luminaries of Pantheism

Prompt: In Luminaries of Pantheism, how is the Reception discussed?

A documentary about the mural, Luminaries by film director Ed Moy, was awarded the Audience Award at the Marina Del Rey film festival. It features The Paradise Project's Chairman, board members Nika Avila and Chuck Beebe, mural designer Peter Moriarty, muralist Levi Ponce.

Category:Cultural depictions of Carl Jung

Category:Cultural depictions of Emily Dickinson

Category:Cultural depictions of Friedrich Nietzsche

Category:Cultural depictions of Albert Einstein

Category:Cultural depictions of Baruch Spinoza


Death and the Child

Prompt: Focus on Death and the Child and explain the abstract.

Death and the Child is a composition created by Edvard Munch in 1889. Since 1918 it is located in the Kunsthalle Bremen. It depicts a little girl at her mother’s deathbed who is looking at the viewer in a fearful manner. A second, thus far unknown painting of the artist was discovered underneath the canvas in 2005.  A new version of that motif,  which refers to Munch’s family and the early death of his mother was created between 1897 and 1899 and is now hanging in the Munch Museum in Oslo. An etching was made in 1901 with this motif.

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


Death and the Child

Prompt: Explain the abstract of this artwork, Death and the Child.

Death and the Child is a composition created by Edvard Munch in 1889. Since 1918 it is located in the Kunsthalle Bremen. It depicts a little girl at her mother’s deathbed who is looking at the viewer in a fearful manner. A second, thus far unknown painting of the artist was discovered underneath the canvas in 2005.  A new version of that motif,  which refers to Munch’s family and the early death of his mother was created between 1897 and 1899 and is now hanging in the Munch Museum in Oslo. An etching was made in 1901 with this motif.

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


Death and the Child

Prompt: How does Death and the Child explain its abstract?

Death and the Child is a composition created by Edvard Munch in 1889. Since 1918 it is located in the Kunsthalle Bremen. It depicts a little girl at her mother’s deathbed who is looking at the viewer in a fearful manner. A second, thus far unknown painting of the artist was discovered underneath the canvas in 2005.  A new version of that motif,  which refers to Munch’s family and the early death of his mother was created between 1897 and 1899 and is now hanging in the Munch Museum in Oslo. An etching was made in 1901 with this motif.

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


Death and the Child

Prompt: In Death and the Child, how is the abstract discussed?

Death and the Child is a composition created by Edvard Munch in 1889. Since 1918 it is located in the Kunsthalle Bremen. It depicts a little girl at her mother’s deathbed who is looking at the viewer in a fearful manner. A second, thus far unknown painting of the artist was discovered underneath the canvas in 2005.  A new version of that motif,  which refers to Munch’s family and the early death of his mother was created between 1897 and 1899 and is now hanging in the Munch Museum in Oslo. An etching was made in 1901 with this motif.

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


Death and the Child

Prompt: Focus on Death and the Child and explain the Description.

The picture is a bit higher than it is wide. Shown from above, a small child with blonde hair is depicted in the left half of the painting, who is facing the viewer, standing in front of the bed of a dead or dying woman to whom she has turned her back. Her arms are raised, the hands seem to be pressed against the ears, the head is slightly lowered. Her facial expression is unhappy, the blue eyes are wide open. The child is wearing a white top whose sleeves go up to the elbows or have slipped back, underneath a knee-long, pale purple dress with black stockings and dark boots. The toes almost reach to the lower edge of the painting. The shadow is cast from this point diagonally to the right rear, so that it creates a connection between the child figure that is turned away from the bed and the lying figure in the background. This figure is bedded in a bed or a sofa, whose bottom edge begins at about the height of the lower third of the painting and whose headboard is on the right half of the painting. The head of the dark-haired woman is depicted in profile and rests deeply with closed eyes in a white, puffy pillow. A part of her white covered upper body is also seen, the arms seem to be crossed on the breast. The greenish blanket is moved back until beneath the thorax. Her colour fades almost unnoticeably into the grey-greenish wall behind the bed, while the dull orange of the floor reoccurs in the shadow on both sides of the pillow and creates a resemblance with bloodstains. The dead woman herself seems to be extremely gaunt and worn out and the colour of her skin is barely distinguishable from that of the pillowcase. She is in stark contrast to the healthy skin colour and the tense posture of the child figure, who seems to try to hold off the impressions of death.The painting allows for associations with traumatic experiences from the childhood and youth of the painter. Munch lost his mother to tuberculosis  at the age of five and nine years later one of his sisters, Sophie, who had suffered from the same deadly disease. His sister Laura became depressed.A commenter stated on the painting that Munch created “devastating figures of expression that directly touch the viewer. The silent horror of the child in face of the dead mother” proves to be “a variant of the famous painting The Scream.”

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


Death and the Child

Prompt: Explain the Description of this artwork, Death and the Child.

The picture is a bit higher than it is wide. Shown from above, a small child with blonde hair is depicted in the left half of the painting, who is facing the viewer, standing in front of the bed of a dead or dying woman to whom she has turned her back. Her arms are raised, the hands seem to be pressed against the ears, the head is slightly lowered. Her facial expression is unhappy, the blue eyes are wide open. The child is wearing a white top whose sleeves go up to the elbows or have slipped back, underneath a knee-long, pale purple dress with black stockings and dark boots. The toes almost reach to the lower edge of the painting. The shadow is cast from this point diagonally to the right rear, so that it creates a connection between the child figure that is turned away from the bed and the lying figure in the background. This figure is bedded in a bed or a sofa, whose bottom edge begins at about the height of the lower third of the painting and whose headboard is on the right half of the painting. The head of the dark-haired woman is depicted in profile and rests deeply with closed eyes in a white, puffy pillow. A part of her white covered upper body is also seen, the arms seem to be crossed on the breast. The greenish blanket is moved back until beneath the thorax. Her colour fades almost unnoticeably into the grey-greenish wall behind the bed, while the dull orange of the floor reoccurs in the shadow on both sides of the pillow and creates a resemblance with bloodstains. The dead woman herself seems to be extremely gaunt and worn out and the colour of her skin is barely distinguishable from that of the pillowcase. She is in stark contrast to the healthy skin colour and the tense posture of the child figure, who seems to try to hold off the impressions of death.The painting allows for associations with traumatic experiences from the childhood and youth of the painter. Munch lost his mother to tuberculosis  at the age of five and nine years later one of his sisters, Sophie, who had suffered from the same deadly disease. His sister Laura became depressed.A commenter stated on the painting that Munch created “devastating figures of expression that directly touch the viewer. The silent horror of the child in face of the dead mother” proves to be “a variant of the famous painting The Scream.”

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


Death and the Child

Prompt: How does Death and the Child explain its Description?

The picture is a bit higher than it is wide. Shown from above, a small child with blonde hair is depicted in the left half of the painting, who is facing the viewer, standing in front of the bed of a dead or dying woman to whom she has turned her back. Her arms are raised, the hands seem to be pressed against the ears, the head is slightly lowered. Her facial expression is unhappy, the blue eyes are wide open. The child is wearing a white top whose sleeves go up to the elbows or have slipped back, underneath a knee-long, pale purple dress with black stockings and dark boots. The toes almost reach to the lower edge of the painting. The shadow is cast from this point diagonally to the right rear, so that it creates a connection between the child figure that is turned away from the bed and the lying figure in the background. This figure is bedded in a bed or a sofa, whose bottom edge begins at about the height of the lower third of the painting and whose headboard is on the right half of the painting. The head of the dark-haired woman is depicted in profile and rests deeply with closed eyes in a white, puffy pillow. A part of her white covered upper body is also seen, the arms seem to be crossed on the breast. The greenish blanket is moved back until beneath the thorax. Her colour fades almost unnoticeably into the grey-greenish wall behind the bed, while the dull orange of the floor reoccurs in the shadow on both sides of the pillow and creates a resemblance with bloodstains. The dead woman herself seems to be extremely gaunt and worn out and the colour of her skin is barely distinguishable from that of the pillowcase. She is in stark contrast to the healthy skin colour and the tense posture of the child figure, who seems to try to hold off the impressions of death.The painting allows for associations with traumatic experiences from the childhood and youth of the painter. Munch lost his mother to tuberculosis  at the age of five and nine years later one of his sisters, Sophie, who had suffered from the same deadly disease. His sister Laura became depressed.A commenter stated on the painting that Munch created “devastating figures of expression that directly touch the viewer. The silent horror of the child in face of the dead mother” proves to be “a variant of the famous painting The Scream.”

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


Death and the Child

Prompt: In Death and the Child, how is the Description discussed?

The picture is a bit higher than it is wide. Shown from above, a small child with blonde hair is depicted in the left half of the painting, who is facing the viewer, standing in front of the bed of a dead or dying woman to whom she has turned her back. Her arms are raised, the hands seem to be pressed against the ears, the head is slightly lowered. Her facial expression is unhappy, the blue eyes are wide open. The child is wearing a white top whose sleeves go up to the elbows or have slipped back, underneath a knee-long, pale purple dress with black stockings and dark boots. The toes almost reach to the lower edge of the painting. The shadow is cast from this point diagonally to the right rear, so that it creates a connection between the child figure that is turned away from the bed and the lying figure in the background. This figure is bedded in a bed or a sofa, whose bottom edge begins at about the height of the lower third of the painting and whose headboard is on the right half of the painting. The head of the dark-haired woman is depicted in profile and rests deeply with closed eyes in a white, puffy pillow. A part of her white covered upper body is also seen, the arms seem to be crossed on the breast. The greenish blanket is moved back until beneath the thorax. Her colour fades almost unnoticeably into the grey-greenish wall behind the bed, while the dull orange of the floor reoccurs in the shadow on both sides of the pillow and creates a resemblance with bloodstains. The dead woman herself seems to be extremely gaunt and worn out and the colour of her skin is barely distinguishable from that of the pillowcase. She is in stark contrast to the healthy skin colour and the tense posture of the child figure, who seems to try to hold off the impressions of death.The painting allows for associations with traumatic experiences from the childhood and youth of the painter. Munch lost his mother to tuberculosis  at the age of five and nine years later one of his sisters, Sophie, who had suffered from the same deadly disease. His sister Laura became depressed.A commenter stated on the painting that Munch created “devastating figures of expression that directly touch the viewer. The silent horror of the child in face of the dead mother” proves to be “a variant of the famous painting The Scream.”

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


Death and the Child

Prompt: Focus on Death and the Child and explain the History.

The painting was purchased in 1918 by the Kunsthalle Bremen. The director of the Kunsthalle Emil Waldmann paid DM 20.000  for the painting, which was the first Munch painting to be acquired for a German museum.Upon request of the Munch museum in Oslo, which wanted to list the complete works of Munch and needed exact data, the Bremen Art Society let the painting be examined more closely. X-Ray images then led  to the discovery that a second canvas of the same format with another painting of Munch was underneath the painting Death and the Child. This piece of art is unsigned and undated, is from a time around 1895 to 1898 and shows a daintily seated act of a girl next to several big, brightly coloured mask-like heads and gripping hands. It bears the title Girl and Three Male Heads. Death and the Child was wound up on a new stretcher bar after this discovery.Why the second painting was underneath the canvas is unclear. The piece of art that, according to museum curator Dorothee Hansen was “not a masterpiece”, possibly served as a supporting canvas for Death and the Child and was used this way due to a lack of material or because it did not meet the standards of the artist. Numerous finger prints on the edges of the painting lead to the conclusion that the artwork was often moved back-and-forth when the paint had not dried up , so that it can be assumed that Munch dealt with the composition over a longer timespan.Both paintings were shown in 2011/2012 in the exhibition Edvard Munch – Rätsel hinter der Leinwand in Bremen.

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


Death and the Child

Prompt: Explain the History of this artwork, Death and the Child.

The painting was purchased in 1918 by the Kunsthalle Bremen. The director of the Kunsthalle Emil Waldmann paid DM 20.000  for the painting, which was the first Munch painting to be acquired for a German museum.Upon request of the Munch museum in Oslo, which wanted to list the complete works of Munch and needed exact data, the Bremen Art Society let the painting be examined more closely. X-Ray images then led  to the discovery that a second canvas of the same format with another painting of Munch was underneath the painting Death and the Child. This piece of art is unsigned and undated, is from a time around 1895 to 1898 and shows a daintily seated act of a girl next to several big, brightly coloured mask-like heads and gripping hands. It bears the title Girl and Three Male Heads. Death and the Child was wound up on a new stretcher bar after this discovery.Why the second painting was underneath the canvas is unclear. The piece of art that, according to museum curator Dorothee Hansen was “not a masterpiece”, possibly served as a supporting canvas for Death and the Child and was used this way due to a lack of material or because it did not meet the standards of the artist. Numerous finger prints on the edges of the painting lead to the conclusion that the artwork was often moved back-and-forth when the paint had not dried up , so that it can be assumed that Munch dealt with the composition over a longer timespan.Both paintings were shown in 2011/2012 in the exhibition Edvard Munch – Rätsel hinter der Leinwand in Bremen.

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


Death and the Child

Prompt: How does Death and the Child explain its History?

The painting was purchased in 1918 by the Kunsthalle Bremen. The director of the Kunsthalle Emil Waldmann paid DM 20.000  for the painting, which was the first Munch painting to be acquired for a German museum.Upon request of the Munch museum in Oslo, which wanted to list the complete works of Munch and needed exact data, the Bremen Art Society let the painting be examined more closely. X-Ray images then led  to the discovery that a second canvas of the same format with another painting of Munch was underneath the painting Death and the Child. This piece of art is unsigned and undated, is from a time around 1895 to 1898 and shows a daintily seated act of a girl next to several big, brightly coloured mask-like heads and gripping hands. It bears the title Girl and Three Male Heads. Death and the Child was wound up on a new stretcher bar after this discovery.Why the second painting was underneath the canvas is unclear. The piece of art that, according to museum curator Dorothee Hansen was “not a masterpiece”, possibly served as a supporting canvas for Death and the Child and was used this way due to a lack of material or because it did not meet the standards of the artist. Numerous finger prints on the edges of the painting lead to the conclusion that the artwork was often moved back-and-forth when the paint had not dried up , so that it can be assumed that Munch dealt with the composition over a longer timespan.Both paintings were shown in 2011/2012 in the exhibition Edvard Munch – Rätsel hinter der Leinwand in Bremen.

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


Death and the Child

Prompt: In Death and the Child, how is the History discussed?

The painting was purchased in 1918 by the Kunsthalle Bremen. The director of the Kunsthalle Emil Waldmann paid DM 20.000  for the painting, which was the first Munch painting to be acquired for a German museum.Upon request of the Munch museum in Oslo, which wanted to list the complete works of Munch and needed exact data, the Bremen Art Society let the painting be examined more closely. X-Ray images then led  to the discovery that a second canvas of the same format with another painting of Munch was underneath the painting Death and the Child. This piece of art is unsigned and undated, is from a time around 1895 to 1898 and shows a daintily seated act of a girl next to several big, brightly coloured mask-like heads and gripping hands. It bears the title Girl and Three Male Heads. Death and the Child was wound up on a new stretcher bar after this discovery.Why the second painting was underneath the canvas is unclear. The piece of art that, according to museum curator Dorothee Hansen was “not a masterpiece”, possibly served as a supporting canvas for Death and the Child and was used this way due to a lack of material or because it did not meet the standards of the artist. Numerous finger prints on the edges of the painting lead to the conclusion that the artwork was often moved back-and-forth when the paint had not dried up , so that it can be assumed that Munch dealt with the composition over a longer timespan.Both paintings were shown in 2011/2012 in the exhibition Edvard Munch – Rätsel hinter der Leinwand in Bremen.

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


Death and the Child

Prompt: Focus on Death and the Child and explain the Further versions.

The earliest sketch of the motif is from the year 1889. Munch completed the initial painting between 1897 and 1899 which is located today in the Munch Museum in Oslo. It is drawn with a casein technique which gives the painting a dreamlike transparency. Unlike the painting from 1899 it is laid out in a landscape format and gives an insight into the wide, empty hospital room. The colouring, in particular the terracotta-red floor and the dark green walls, picks up the colours from other depictions of death by Munch, like Death in the Sickroom. The figures in the background also take poses from it, so that they can be identified as members of Munch’s family: from the left there is his youngest sister Inger facing the viewer, back to back his aunt Karen and his father Christian, Munch, who is turned away, and his brother Andreas in a pose that reminds of the painting Melancholy.The girl in the foreground is Munch’s older sister Sophia, who was six years old at the time of her mother’s death. Unlike the people becoming blurry in the background, she instantly catches the eye with her red dress and her presence. In a way she serves as a spokesperson for the other family members and expresses their grief very directly. However, she is from another time than the adults in the background, so that Munch blends together two layers of time: the instantaneous tragedy of death and his effects on the remaining for years to come.According to Ulrich Bischoff, the change of the first painting of 1897/99 to the second one from the Kunsthalle Bremen was typical for the artistic radicalization of Munch, which is carried out in the composition as well as the painting technique. With the change from landscape format to portrait format, the psychologizing depiction of the family and the sick room is omitted. Only the child at her mother’s deathbed is left. The painting technique also changed: The wet oil paint covers the canvas only at a few spots (collar and sleeves of the child), the facial features are drawn with oil pastel. The  girl sticks out from the red-brownish floor into the dark blue area of death. Thus, it connects life and death.A mirrored version of the motif is found on an etching made in 1901. Prints of the etching are shown, among others, in the Munch Museum and the Norwegian National Gallery in Oslo, as well as in Bremen, Chemitz, Hamburg, Leipzig, and Mannheim for the German-speaking areas.Two predecessors of the motif from 1893 depict the deceased mother in the deathbed without the child or other griefing relatives. They are very different in scenery as well as in style, although both were made in 1893. Death and Spring makes an allegorical statement on the nature of death and is thereby kept areal and synthetic, The Angel of Death visualizes a concrete scene and is painted in a rather impressionist manner. Reinhold Heller concludes from this that Munch used to adjust the style to the subject of his paintings.

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


Death and the Child

Prompt: Explain the Further versions of this artwork, Death and the Child.

The earliest sketch of the motif is from the year 1889. Munch completed the initial painting between 1897 and 1899 which is located today in the Munch Museum in Oslo. It is drawn with a casein technique which gives the painting a dreamlike transparency. Unlike the painting from 1899 it is laid out in a landscape format and gives an insight into the wide, empty hospital room. The colouring, in particular the terracotta-red floor and the dark green walls, picks up the colours from other depictions of death by Munch, like Death in the Sickroom. The figures in the background also take poses from it, so that they can be identified as members of Munch’s family: from the left there is his youngest sister Inger facing the viewer, back to back his aunt Karen and his father Christian, Munch, who is turned away, and his brother Andreas in a pose that reminds of the painting Melancholy.The girl in the foreground is Munch’s older sister Sophia, who was six years old at the time of her mother’s death. Unlike the people becoming blurry in the background, she instantly catches the eye with her red dress and her presence. In a way she serves as a spokesperson for the other family members and expresses their grief very directly. However, she is from another time than the adults in the background, so that Munch blends together two layers of time: the instantaneous tragedy of death and his effects on the remaining for years to come.According to Ulrich Bischoff, the change of the first painting of 1897/99 to the second one from the Kunsthalle Bremen was typical for the artistic radicalization of Munch, which is carried out in the composition as well as the painting technique. With the change from landscape format to portrait format, the psychologizing depiction of the family and the sick room is omitted. Only the child at her mother’s deathbed is left. The painting technique also changed: The wet oil paint covers the canvas only at a few spots (collar and sleeves of the child), the facial features are drawn with oil pastel. The  girl sticks out from the red-brownish floor into the dark blue area of death. Thus, it connects life and death.A mirrored version of the motif is found on an etching made in 1901. Prints of the etching are shown, among others, in the Munch Museum and the Norwegian National Gallery in Oslo, as well as in Bremen, Chemitz, Hamburg, Leipzig, and Mannheim for the German-speaking areas.Two predecessors of the motif from 1893 depict the deceased mother in the deathbed without the child or other griefing relatives. They are very different in scenery as well as in style, although both were made in 1893. Death and Spring makes an allegorical statement on the nature of death and is thereby kept areal and synthetic, The Angel of Death visualizes a concrete scene and is painted in a rather impressionist manner. Reinhold Heller concludes from this that Munch used to adjust the style to the subject of his paintings.

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


Death and the Child

Prompt: How does Death and the Child explain its Further versions?

The earliest sketch of the motif is from the year 1889. Munch completed the initial painting between 1897 and 1899 which is located today in the Munch Museum in Oslo. It is drawn with a casein technique which gives the painting a dreamlike transparency. Unlike the painting from 1899 it is laid out in a landscape format and gives an insight into the wide, empty hospital room. The colouring, in particular the terracotta-red floor and the dark green walls, picks up the colours from other depictions of death by Munch, like Death in the Sickroom. The figures in the background also take poses from it, so that they can be identified as members of Munch’s family: from the left there is his youngest sister Inger facing the viewer, back to back his aunt Karen and his father Christian, Munch, who is turned away, and his brother Andreas in a pose that reminds of the painting Melancholy.The girl in the foreground is Munch’s older sister Sophia, who was six years old at the time of her mother’s death. Unlike the people becoming blurry in the background, she instantly catches the eye with her red dress and her presence. In a way she serves as a spokesperson for the other family members and expresses their grief very directly. However, she is from another time than the adults in the background, so that Munch blends together two layers of time: the instantaneous tragedy of death and his effects on the remaining for years to come.According to Ulrich Bischoff, the change of the first painting of 1897/99 to the second one from the Kunsthalle Bremen was typical for the artistic radicalization of Munch, which is carried out in the composition as well as the painting technique. With the change from landscape format to portrait format, the psychologizing depiction of the family and the sick room is omitted. Only the child at her mother’s deathbed is left. The painting technique also changed: The wet oil paint covers the canvas only at a few spots (collar and sleeves of the child), the facial features are drawn with oil pastel. The  girl sticks out from the red-brownish floor into the dark blue area of death. Thus, it connects life and death.A mirrored version of the motif is found on an etching made in 1901. Prints of the etching are shown, among others, in the Munch Museum and the Norwegian National Gallery in Oslo, as well as in Bremen, Chemitz, Hamburg, Leipzig, and Mannheim for the German-speaking areas.Two predecessors of the motif from 1893 depict the deceased mother in the deathbed without the child or other griefing relatives. They are very different in scenery as well as in style, although both were made in 1893. Death and Spring makes an allegorical statement on the nature of death and is thereby kept areal and synthetic, The Angel of Death visualizes a concrete scene and is painted in a rather impressionist manner. Reinhold Heller concludes from this that Munch used to adjust the style to the subject of his paintings.

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


Death and the Child

Prompt: In Death and the Child, how is the Further versions discussed?

The earliest sketch of the motif is from the year 1889. Munch completed the initial painting between 1897 and 1899 which is located today in the Munch Museum in Oslo. It is drawn with a casein technique which gives the painting a dreamlike transparency. Unlike the painting from 1899 it is laid out in a landscape format and gives an insight into the wide, empty hospital room. The colouring, in particular the terracotta-red floor and the dark green walls, picks up the colours from other depictions of death by Munch, like Death in the Sickroom. The figures in the background also take poses from it, so that they can be identified as members of Munch’s family: from the left there is his youngest sister Inger facing the viewer, back to back his aunt Karen and his father Christian, Munch, who is turned away, and his brother Andreas in a pose that reminds of the painting Melancholy.The girl in the foreground is Munch’s older sister Sophia, who was six years old at the time of her mother’s death. Unlike the people becoming blurry in the background, she instantly catches the eye with her red dress and her presence. In a way she serves as a spokesperson for the other family members and expresses their grief very directly. However, she is from another time than the adults in the background, so that Munch blends together two layers of time: the instantaneous tragedy of death and his effects on the remaining for years to come.According to Ulrich Bischoff, the change of the first painting of 1897/99 to the second one from the Kunsthalle Bremen was typical for the artistic radicalization of Munch, which is carried out in the composition as well as the painting technique. With the change from landscape format to portrait format, the psychologizing depiction of the family and the sick room is omitted. Only the child at her mother’s deathbed is left. The painting technique also changed: The wet oil paint covers the canvas only at a few spots (collar and sleeves of the child), the facial features are drawn with oil pastel. The  girl sticks out from the red-brownish floor into the dark blue area of death. Thus, it connects life and death.A mirrored version of the motif is found on an etching made in 1901. Prints of the etching are shown, among others, in the Munch Museum and the Norwegian National Gallery in Oslo, as well as in Bremen, Chemitz, Hamburg, Leipzig, and Mannheim for the German-speaking areas.Two predecessors of the motif from 1893 depict the deceased mother in the deathbed without the child or other griefing relatives. They are very different in scenery as well as in style, although both were made in 1893. Death and Spring makes an allegorical statement on the nature of death and is thereby kept areal and synthetic, The Angel of Death visualizes a concrete scene and is painted in a rather impressionist manner. Reinhold Heller concludes from this that Munch used to adjust the style to the subject of his paintings.

Bremen
Oslo
Kunsthalle Bremen
synthetism
Category:1889 paintings
Casein paint
X-Ray images
Melancholy
Radiography
National Gallery (Norway)
Norwegian National Gallery
Munch Museum
Wayback Machine
oil pastel
etching
allegorical
Category:Paintings by Edvard Munch
Oil painting
Edvard Munch
tuberculosis
stretcher bar
The Scream
synthetic
Oil on canvas
complete works
Melancholy (Munch)
Etching
casein
National Gallery
Impressionism
impressionist


The Drop (sculpture)

Prompt: Focus on The Drop (sculpture) and explain the abstract.

The Drop is a steel sculpture resembling a raindrop designed by the group of German artists known as Inges Idee, located at Bon Voyage Plaza in the Coal Harbour neighborhood of downtown Vancouver. The 65-foot (20 m) tall piece is covered with Styrofoam and blue polyurethane. According to Inges Idee, the sculpture is "an homage to the power of nature" and represents "the relationship and outlook towards the water that surrounds us". The Drop was commissioned as part of the 2009 Vancouver Convention Centre Art Project and is owned by BC Pavco.

Category:Outdoor sculptures in Vancouver

Category:Tourist attractions in Vancouver

Category:2009 establishments in British Columbia


The Drop (sculpture)

Prompt: Explain the abstract of this artwork, The Drop (sculpture).

The Drop is a steel sculpture resembling a raindrop designed by the group of German artists known as Inges Idee, located at Bon Voyage Plaza in the Coal Harbour neighborhood of downtown Vancouver. The 65-foot (20 m) tall piece is covered with Styrofoam and blue polyurethane. According to Inges Idee, the sculpture is "an homage to the power of nature" and represents "the relationship and outlook towards the water that surrounds us". The Drop was commissioned as part of the 2009 Vancouver Convention Centre Art Project and is owned by BC Pavco.

Category:Outdoor sculptures in Vancouver

Category:Tourist attractions in Vancouver

Category:2009 establishments in British Columbia


The Drop (sculpture)

Prompt: How does The Drop (sculpture) explain its abstract?

The Drop is a steel sculpture resembling a raindrop designed by the group of German artists known as Inges Idee, located at Bon Voyage Plaza in the Coal Harbour neighborhood of downtown Vancouver. The 65-foot (20 m) tall piece is covered with Styrofoam and blue polyurethane. According to Inges Idee, the sculpture is "an homage to the power of nature" and represents "the relationship and outlook towards the water that surrounds us". The Drop was commissioned as part of the 2009 Vancouver Convention Centre Art Project and is owned by BC Pavco.

Category:Outdoor sculptures in Vancouver

Category:Tourist attractions in Vancouver

Category:2009 establishments in British Columbia


The Drop (sculpture)

Prompt: In The Drop (sculpture), how is the abstract discussed?

The Drop is a steel sculpture resembling a raindrop designed by the group of German artists known as Inges Idee, located at Bon Voyage Plaza in the Coal Harbour neighborhood of downtown Vancouver. The 65-foot (20 m) tall piece is covered with Styrofoam and blue polyurethane. According to Inges Idee, the sculpture is "an homage to the power of nature" and represents "the relationship and outlook towards the water that surrounds us". The Drop was commissioned as part of the 2009 Vancouver Convention Centre Art Project and is owned by BC Pavco.

Category:Outdoor sculptures in Vancouver

Category:Tourist attractions in Vancouver

Category:2009 establishments in British Columbia


The Drop (sculpture)

Prompt: Focus on The Drop (sculpture) and explain the Description and history.

According to the City of Vancouver Public Art Registry, The Drop is a blue 65-foot (20 m) tall sculpture depicting a "large, gentle 'raindrop' captured in its descent at the moment of contact". The central "spine" of the sculpture is composed of steel and covered with Styrofoam and blue polyurethane. The piece's color complements the sky and contrasts with the large yellow sulfur piles visible on the opposite shoreline.The Drop was commissioned as part of the Vancouver Convention Centre Art Project and marked the first North American project for Inges Idee, a group of four German artists. The sculpture was installed in 2009 at Bon Voyage Plaza (adjacent to the Vancouver Convention Centre) at the end of Burrard Street, along the waterfront in the Coal Harbour neighborhood of downtown Vancouver. The piece was removed temporarily during the 2010 Winter Olympics for interrupting the view of the television cameras.

Category:Outdoor sculptures in Vancouver

Category:Tourist attractions in Vancouver

Category:2009 establishments in British Columbia


The Drop (sculpture)

Prompt: Explain the Description and history of this artwork, The Drop (sculpture).

According to the City of Vancouver Public Art Registry, The Drop is a blue 65-foot (20 m) tall sculpture depicting a "large, gentle 'raindrop' captured in its descent at the moment of contact". The central "spine" of the sculpture is composed of steel and covered with Styrofoam and blue polyurethane. The piece's color complements the sky and contrasts with the large yellow sulfur piles visible on the opposite shoreline.The Drop was commissioned as part of the Vancouver Convention Centre Art Project and marked the first North American project for Inges Idee, a group of four German artists. The sculpture was installed in 2009 at Bon Voyage Plaza (adjacent to the Vancouver Convention Centre) at the end of Burrard Street, along the waterfront in the Coal Harbour neighborhood of downtown Vancouver. The piece was removed temporarily during the 2010 Winter Olympics for interrupting the view of the television cameras.

Category:Outdoor sculptures in Vancouver

Category:Tourist attractions in Vancouver

Category:2009 establishments in British Columbia


The Drop (sculpture)

Prompt: How does The Drop (sculpture) explain its Description and history?

According to the City of Vancouver Public Art Registry, The Drop is a blue 65-foot (20 m) tall sculpture depicting a "large, gentle 'raindrop' captured in its descent at the moment of contact". The central "spine" of the sculpture is composed of steel and covered with Styrofoam and blue polyurethane. The piece's color complements the sky and contrasts with the large yellow sulfur piles visible on the opposite shoreline.The Drop was commissioned as part of the Vancouver Convention Centre Art Project and marked the first North American project for Inges Idee, a group of four German artists. The sculpture was installed in 2009 at Bon Voyage Plaza (adjacent to the Vancouver Convention Centre) at the end of Burrard Street, along the waterfront in the Coal Harbour neighborhood of downtown Vancouver. The piece was removed temporarily during the 2010 Winter Olympics for interrupting the view of the television cameras.

Category:Outdoor sculptures in Vancouver

Category:Tourist attractions in Vancouver

Category:2009 establishments in British Columbia


The Drop (sculpture)

Prompt: In The Drop (sculpture), how is the Description and history discussed?

According to the City of Vancouver Public Art Registry, The Drop is a blue 65-foot (20 m) tall sculpture depicting a "large, gentle 'raindrop' captured in its descent at the moment of contact". The central "spine" of the sculpture is composed of steel and covered with Styrofoam and blue polyurethane. The piece's color complements the sky and contrasts with the large yellow sulfur piles visible on the opposite shoreline.The Drop was commissioned as part of the Vancouver Convention Centre Art Project and marked the first North American project for Inges Idee, a group of four German artists. The sculpture was installed in 2009 at Bon Voyage Plaza (adjacent to the Vancouver Convention Centre) at the end of Burrard Street, along the waterfront in the Coal Harbour neighborhood of downtown Vancouver. The piece was removed temporarily during the 2010 Winter Olympics for interrupting the view of the television cameras.

Category:Outdoor sculptures in Vancouver

Category:Tourist attractions in Vancouver

Category:2009 establishments in British Columbia


The Drop (sculpture)

Prompt: Focus on The Drop (sculpture) and explain the Reception.

The Vancouver Observer referred to the sculpture as the "quintessential Vancouver piece". According to the publication, The Drop has a "playful relationship with the viewer" and serves as a "big inside joke" for Vancouver residents. This refers to the high amount of rain the city receives; Vancouver is Canada's third most rainy large city, after Abbotsford and Halifax, with over 162 rainy days per year.

Category:Outdoor sculptures in Vancouver

Category:Tourist attractions in Vancouver

Category:2009 establishments in British Columbia


The Drop (sculpture)

Prompt: Explain the Reception of this artwork, The Drop (sculpture).

The Vancouver Observer referred to the sculpture as the "quintessential Vancouver piece". According to the publication, The Drop has a "playful relationship with the viewer" and serves as a "big inside joke" for Vancouver residents. This refers to the high amount of rain the city receives; Vancouver is Canada's third most rainy large city, after Abbotsford and Halifax, with over 162 rainy days per year.

Category:Outdoor sculptures in Vancouver

Category:Tourist attractions in Vancouver

Category:2009 establishments in British Columbia


The Drop (sculpture)

Prompt: How does The Drop (sculpture) explain its Reception?

The Vancouver Observer referred to the sculpture as the "quintessential Vancouver piece". According to the publication, The Drop has a "playful relationship with the viewer" and serves as a "big inside joke" for Vancouver residents. This refers to the high amount of rain the city receives; Vancouver is Canada's third most rainy large city, after Abbotsford and Halifax, with over 162 rainy days per year.

Category:Outdoor sculptures in Vancouver

Category:Tourist attractions in Vancouver

Category:2009 establishments in British Columbia


The Drop (sculpture)

Prompt: In The Drop (sculpture), how is the Reception discussed?

The Vancouver Observer referred to the sculpture as the "quintessential Vancouver piece". According to the publication, The Drop has a "playful relationship with the viewer" and serves as a "big inside joke" for Vancouver residents. This refers to the high amount of rain the city receives; Vancouver is Canada's third most rainy large city, after Abbotsford and Halifax, with over 162 rainy days per year.

Category:Outdoor sculptures in Vancouver

Category:Tourist attractions in Vancouver

Category:2009 establishments in British Columbia


Probošt's mechanical Christmas crib

Prompt: Focus on Probošt's mechanical Christmas crib and explain the abstract.

Probošt's Mechanical Christmas Crib (Czech: Proboštův betlém) is a wooden mechanical nativity scene that was made by Josef Probošt (1849–1926), Josef Kapucián (1841–1908) and Josef Friml (1861–1946).The crib was declared a national cultural monument in 1999. It is unique in terms of art and ethnography, but also from a technical point of view. It is also notable for its great aesthetic quality, unlike most other movable cribs, which sacrificed looks for mobility.This artifact is now housed in the Museum of Nativity Scenes in Třebechovice pod Orebem in the Czech Republic. It is among the most valuable treasures of the country.

Transport of the Probošt's crib to storage on 26 September 2011

Category:Landmarks in the Czech Republic

Category:National cultural monuments of the Czech Republic

File:Trebechovicky betlem 20110926 transport 05.JPG


Probošt's mechanical Christmas crib

Prompt: Explain the abstract of this artwork, Probošt's mechanical Christmas crib.

Probošt's Mechanical Christmas Crib (Czech: Proboštův betlém) is a wooden mechanical nativity scene that was made by Josef Probošt (1849–1926), Josef Kapucián (1841–1908) and Josef Friml (1861–1946).The crib was declared a national cultural monument in 1999. It is unique in terms of art and ethnography, but also from a technical point of view. It is also notable for its great aesthetic quality, unlike most other movable cribs, which sacrificed looks for mobility.This artifact is now housed in the Museum of Nativity Scenes in Třebechovice pod Orebem in the Czech Republic. It is among the most valuable treasures of the country.

Transport of the Probošt's crib to storage on 26 September 2011

Category:Landmarks in the Czech Republic

Category:National cultural monuments of the Czech Republic

File:Trebechovicky betlem 20110926 transport 05.JPG


Probošt's mechanical Christmas crib

Prompt: How does Probošt's mechanical Christmas crib explain its abstract?

Probošt's Mechanical Christmas Crib (Czech: Proboštův betlém) is a wooden mechanical nativity scene that was made by Josef Probošt (1849–1926), Josef Kapucián (1841–1908) and Josef Friml (1861–1946).The crib was declared a national cultural monument in 1999. It is unique in terms of art and ethnography, but also from a technical point of view. It is also notable for its great aesthetic quality, unlike most other movable cribs, which sacrificed looks for mobility.This artifact is now housed in the Museum of Nativity Scenes in Třebechovice pod Orebem in the Czech Republic. It is among the most valuable treasures of the country.

Transport of the Probošt's crib to storage on 26 September 2011

Category:Landmarks in the Czech Republic

Category:National cultural monuments of the Czech Republic

File:Trebechovicky betlem 20110926 transport 05.JPG


Probošt's mechanical Christmas crib

Prompt: In Probošt's mechanical Christmas crib, how is the abstract discussed?

Probošt's Mechanical Christmas Crib (Czech: Proboštův betlém) is a wooden mechanical nativity scene that was made by Josef Probošt (1849–1926), Josef Kapucián (1841–1908) and Josef Friml (1861–1946).The crib was declared a national cultural monument in 1999. It is unique in terms of art and ethnography, but also from a technical point of view. It is also notable for its great aesthetic quality, unlike most other movable cribs, which sacrificed looks for mobility.This artifact is now housed in the Museum of Nativity Scenes in Třebechovice pod Orebem in the Czech Republic. It is among the most valuable treasures of the country.

Transport of the Probošt's crib to storage on 26 September 2011

Category:Landmarks in the Czech Republic

Category:National cultural monuments of the Czech Republic

File:Trebechovicky betlem 20110926 transport 05.JPG


Probošt's mechanical Christmas crib

Prompt: Focus on Probošt's mechanical Christmas crib and explain the Exhibitions.

The crib was first exhibited at the Zemská jednota řemeslnická ("Provincial Artisan Union") in Chrast in 1906. There the crib was received positively, and was awarded a diploma and a gold medal; however, nobody wanted to sponsor it.Other exhibitions were in the year 1934 in Kostelec nad Orlicí, in 1935 in Prague, in 1936 in Brno and in 1937 in Bratislava, Piešťany and Hlohovec. Continued exhibiting was interrupted by World War II. Later, the crib was exhibited  at the World's fair in Montreal (1967), where more than 8 million visitors saw it, at Madurodam in The Hague (1968) and at the Ideal Home Show in London (1970). Each of these displays met with great success. Since 1972, the crib has been exhibited only at the Museum of Christmas Cribs itself.

Transport of the Probošt's crib to storage on 26 September 2011

Category:Landmarks in the Czech Republic

Category:National cultural monuments of the Czech Republic

File:Trebechovicky betlem 20110926 transport 05.JPG


Probošt's mechanical Christmas crib

Prompt: Explain the Exhibitions of this artwork, Probošt's mechanical Christmas crib.

The crib was first exhibited at the Zemská jednota řemeslnická ("Provincial Artisan Union") in Chrast in 1906. There the crib was received positively, and was awarded a diploma and a gold medal; however, nobody wanted to sponsor it.Other exhibitions were in the year 1934 in Kostelec nad Orlicí, in 1935 in Prague, in 1936 in Brno and in 1937 in Bratislava, Piešťany and Hlohovec. Continued exhibiting was interrupted by World War II. Later, the crib was exhibited  at the World's fair in Montreal (1967), where more than 8 million visitors saw it, at Madurodam in The Hague (1968) and at the Ideal Home Show in London (1970). Each of these displays met with great success. Since 1972, the crib has been exhibited only at the Museum of Christmas Cribs itself.

Transport of the Probošt's crib to storage on 26 September 2011

Category:Landmarks in the Czech Republic

Category:National cultural monuments of the Czech Republic

File:Trebechovicky betlem 20110926 transport 05.JPG


Probošt's mechanical Christmas crib

Prompt: How does Probošt's mechanical Christmas crib explain its Exhibitions?

The crib was first exhibited at the Zemská jednota řemeslnická ("Provincial Artisan Union") in Chrast in 1906. There the crib was received positively, and was awarded a diploma and a gold medal; however, nobody wanted to sponsor it.Other exhibitions were in the year 1934 in Kostelec nad Orlicí, in 1935 in Prague, in 1936 in Brno and in 1937 in Bratislava, Piešťany and Hlohovec. Continued exhibiting was interrupted by World War II. Later, the crib was exhibited  at the World's fair in Montreal (1967), where more than 8 million visitors saw it, at Madurodam in The Hague (1968) and at the Ideal Home Show in London (1970). Each of these displays met with great success. Since 1972, the crib has been exhibited only at the Museum of Christmas Cribs itself.

Transport of the Probošt's crib to storage on 26 September 2011

Category:Landmarks in the Czech Republic

Category:National cultural monuments of the Czech Republic

File:Trebechovicky betlem 20110926 transport 05.JPG


Probošt's mechanical Christmas crib

Prompt: In Probošt's mechanical Christmas crib, how is the Exhibitions discussed?

The crib was first exhibited at the Zemská jednota řemeslnická ("Provincial Artisan Union") in Chrast in 1906. There the crib was received positively, and was awarded a diploma and a gold medal; however, nobody wanted to sponsor it.Other exhibitions were in the year 1934 in Kostelec nad Orlicí, in 1935 in Prague, in 1936 in Brno and in 1937 in Bratislava, Piešťany and Hlohovec. Continued exhibiting was interrupted by World War II. Later, the crib was exhibited  at the World's fair in Montreal (1967), where more than 8 million visitors saw it, at Madurodam in The Hague (1968) and at the Ideal Home Show in London (1970). Each of these displays met with great success. Since 1972, the crib has been exhibited only at the Museum of Christmas Cribs itself.

Transport of the Probošt's crib to storage on 26 September 2011

Category:Landmarks in the Czech Republic

Category:National cultural monuments of the Czech Republic

File:Trebechovicky betlem 20110926 transport 05.JPG


Probošt's mechanical Christmas crib

Prompt: Focus on Probošt's mechanical Christmas crib and explain the Figures and mechanism.

It was built at the turn of the 19th and the 20th century, it took more than forty years to complete. It includes more than 2000 carved parts and figures, which are put in motion by a small electric motor. Altogether, 373 people are depicted. The landscape is divided into seven terraces filled with characters representing both biblical figures and inhabitants of Bohemia. They are carved from linden wood; three of the characters are reported to be made of pear wood. Figures are approximately 10–15 cm high and not polychromed, unlike the figures of most other nativity scenes; the carvers wanted to emphasize the unity of material.Residents of Pitr's street who had been visiting Probošts to admire the nativity scene during its construction served as models for many of the characters depicted in the crib. Among them can be seen Probošt as a carpenter and Kapucián as wise old man. The crib also includes six flowering spreading linden trees, a usual part of Czech nativity scenes; according to Vaclík, these are among the most beautiful trees carved in the Czech Republic.The crib was originally built on a right angle but at the turn of the 19th and 20th century it was rebuilt in a single plane. The whole nativity scene (including mechanical parts) is made of wood and is 6.9 metres (23 ft) long, 2.2 metres (7.2 ft) high and 1.9 metres (6.2 ft) deep.

Transport of the Probošt's crib to storage on 26 September 2011

Category:Landmarks in the Czech Republic

Category:National cultural monuments of the Czech Republic

File:Trebechovicky betlem 20110926 transport 05.JPG


Probošt's mechanical Christmas crib

Prompt: Explain the Figures and mechanism of this artwork, Probošt's mechanical Christmas crib.

It was built at the turn of the 19th and the 20th century, it took more than forty years to complete. It includes more than 2000 carved parts and figures, which are put in motion by a small electric motor. Altogether, 373 people are depicted. The landscape is divided into seven terraces filled with characters representing both biblical figures and inhabitants of Bohemia. They are carved from linden wood; three of the characters are reported to be made of pear wood. Figures are approximately 10–15 cm high and not polychromed, unlike the figures of most other nativity scenes; the carvers wanted to emphasize the unity of material.Residents of Pitr's street who had been visiting Probošts to admire the nativity scene during its construction served as models for many of the characters depicted in the crib. Among them can be seen Probošt as a carpenter and Kapucián as wise old man. The crib also includes six flowering spreading linden trees, a usual part of Czech nativity scenes; according to Vaclík, these are among the most beautiful trees carved in the Czech Republic.The crib was originally built on a right angle but at the turn of the 19th and 20th century it was rebuilt in a single plane. The whole nativity scene (including mechanical parts) is made of wood and is 6.9 metres (23 ft) long, 2.2 metres (7.2 ft) high and 1.9 metres (6.2 ft) deep.

Transport of the Probošt's crib to storage on 26 September 2011

Category:Landmarks in the Czech Republic

Category:National cultural monuments of the Czech Republic

File:Trebechovicky betlem 20110926 transport 05.JPG