Prompt: Explain the Background of this artwork, Portrait of Georgiana, Duchess of Devonshire.

During her years in the public eye, Georgiana Cavendish, Duchess of Devonshire was painted several times by both Thomas Gainsborough and Joshua Reynolds.Gainsborough's painting of her around 1785, in a large black hat (a style which she made fashionable, and came to be known as the 'Gainsborough' or 'portrait' hat), has become famous for its history. After having been lost from Chatsworth House for many years, it was discovered in the 1830s in the home of an elderly schoolmistress, who had cut it down somewhat in order to fit it over her fireplace. In 1841 she sold it to a picture dealer for £56, and he later gave it to a friend, the art collector Wynne Ellis. When Ellis died, the painting went for sale at Christie's in London in 1876, where it was bought by the Bond Street art dealer William Agnew for the then astronomical sum of 10,000 guineas, at the time the highest price ever paid for a painting at auction. Three weeks later it was stolen from the London gallery of Thomas Agnew & Sons, a theft that was highly publicised at the time, and for years the newspapers printed stories about claimed sightings of the painting.However, not until 25 years later did it become known that the thief had been the notorious "Napoleon of Crime", Adam Worth. He had intended to sell it to come up with the bail to release his brother from prison, but when his brother was freed without bail, he decided to keep it for himself, for "a rainy day", and brought it to his adopted homeland, the United States. In early 1901, through the American detective agency Pinkerton's, he negotiated a return of the painting to Agnew's son for $25,000. The portrait and payment were exchanged in Chicago in March 1901, and a couple of months later the painting arrived in London and was put up for sale. The Wall Street financier J. P. Morgan immediately travelled to England to obtain the painting and later claimed to have paid $150,000 for it.The painting remained in Morgan's family until 1994, when it was put up for sale at Sotheby's and was purchased by the 11th Duke of Devonshire for the Chatsworth House collection for $408,870.  After more than 200 years, the painting returned to Chatsworth.

Category:Portraits by Thomas Gainsborough

Andrew Cavendish, 11th Duke of Devonshire


Prompt: How does Portrait of Georgiana, Duchess of Devonshire explain its Background?

During her years in the public eye, Georgiana Cavendish, Duchess of Devonshire was painted several times by both Thomas Gainsborough and Joshua Reynolds.Gainsborough's painting of her around 1785, in a large black hat (a style which she made fashionable, and came to be known as the 'Gainsborough' or 'portrait' hat), has become famous for its history. After having been lost from Chatsworth House for many years, it was discovered in the 1830s in the home of an elderly schoolmistress, who had cut it down somewhat in order to fit it over her fireplace. In 1841 she sold it to a picture dealer for £56, and he later gave it to a friend, the art collector Wynne Ellis. When Ellis died, the painting went for sale at Christie's in London in 1876, where it was bought by the Bond Street art dealer William Agnew for the then astronomical sum of 10,000 guineas, at the time the highest price ever paid for a painting at auction. Three weeks later it was stolen from the London gallery of Thomas Agnew & Sons, a theft that was highly publicised at the time, and for years the newspapers printed stories about claimed sightings of the painting.However, not until 25 years later did it become known that the thief had been the notorious "Napoleon of Crime", Adam Worth. He had intended to sell it to come up with the bail to release his brother from prison, but when his brother was freed without bail, he decided to keep it for himself, for "a rainy day", and brought it to his adopted homeland, the United States. In early 1901, through the American detective agency Pinkerton's, he negotiated a return of the painting to Agnew's son for $25,000. The portrait and payment were exchanged in Chicago in March 1901, and a couple of months later the painting arrived in London and was put up for sale. The Wall Street financier J. P. Morgan immediately travelled to England to obtain the painting and later claimed to have paid $150,000 for it.The painting remained in Morgan's family until 1994, when it was put up for sale at Sotheby's and was purchased by the 11th Duke of Devonshire for the Chatsworth House collection for $408,870.  After more than 200 years, the painting returned to Chatsworth.

Category:Portraits by Thomas Gainsborough

Andrew Cavendish, 11th Duke of Devonshire


Prompt: In Portrait of Georgiana, Duchess of Devonshire, how is the Background discussed?

During her years in the public eye, Georgiana Cavendish, Duchess of Devonshire was painted several times by both Thomas Gainsborough and Joshua Reynolds.Gainsborough's painting of her around 1785, in a large black hat (a style which she made fashionable, and came to be known as the 'Gainsborough' or 'portrait' hat), has become famous for its history. After having been lost from Chatsworth House for many years, it was discovered in the 1830s in the home of an elderly schoolmistress, who had cut it down somewhat in order to fit it over her fireplace. In 1841 she sold it to a picture dealer for £56, and he later gave it to a friend, the art collector Wynne Ellis. When Ellis died, the painting went for sale at Christie's in London in 1876, where it was bought by the Bond Street art dealer William Agnew for the then astronomical sum of 10,000 guineas, at the time the highest price ever paid for a painting at auction. Three weeks later it was stolen from the London gallery of Thomas Agnew & Sons, a theft that was highly publicised at the time, and for years the newspapers printed stories about claimed sightings of the painting.However, not until 25 years later did it become known that the thief had been the notorious "Napoleon of Crime", Adam Worth. He had intended to sell it to come up with the bail to release his brother from prison, but when his brother was freed without bail, he decided to keep it for himself, for "a rainy day", and brought it to his adopted homeland, the United States. In early 1901, through the American detective agency Pinkerton's, he negotiated a return of the painting to Agnew's son for $25,000. The portrait and payment were exchanged in Chicago in March 1901, and a couple of months later the painting arrived in London and was put up for sale. The Wall Street financier J. P. Morgan immediately travelled to England to obtain the painting and later claimed to have paid $150,000 for it.The painting remained in Morgan's family until 1994, when it was put up for sale at Sotheby's and was purchased by the 11th Duke of Devonshire for the Chatsworth House collection for $408,870.  After more than 200 years, the painting returned to Chatsworth.

Category:Portraits by Thomas Gainsborough

Andrew Cavendish, 11th Duke of Devonshire


Notre-Dame, une fin d'après-midi

Prompt: Focus on Notre-Dame, une fin d'après-midi and explain the abstract.

Notre-Dame, une fin d'après-midi ("A Glimpse of Notre-Dame in the Late Afternoon") is a painting by Henri Matisse from 1902. Its somber coloration is typical of Matisse's works executed between the end of 1901 and the end of 1903, a period of personal difficulties for the artist. This episode has been called Matisse's Dark Period.The work is an oil painting on paper mounted on canvas and it measures 72.5 by 54.5 centimetres (28+1⁄2 by 21+1⁄2 inches). It is in the Albright–Knox Art Gallery, Buffalo, New York.

Category:Paintings in the Buffalo AKG Art Museum


Notre-Dame, une fin d'après-midi

Prompt: Explain the abstract of this artwork, Notre-Dame, une fin d'après-midi.

Notre-Dame, une fin d'après-midi ("A Glimpse of Notre-Dame in the Late Afternoon") is a painting by Henri Matisse from 1902. Its somber coloration is typical of Matisse's works executed between the end of 1901 and the end of 1903, a period of personal difficulties for the artist. This episode has been called Matisse's Dark Period.The work is an oil painting on paper mounted on canvas and it measures 72.5 by 54.5 centimetres (28+1⁄2 by 21+1⁄2 inches). It is in the Albright–Knox Art Gallery, Buffalo, New York.

Category:Paintings in the Buffalo AKG Art Museum


Notre-Dame, une fin d'après-midi

Prompt: How does Notre-Dame, une fin d'après-midi explain its abstract?

Notre-Dame, une fin d'après-midi ("A Glimpse of Notre-Dame in the Late Afternoon") is a painting by Henri Matisse from 1902. Its somber coloration is typical of Matisse's works executed between the end of 1901 and the end of 1903, a period of personal difficulties for the artist. This episode has been called Matisse's Dark Period.The work is an oil painting on paper mounted on canvas and it measures 72.5 by 54.5 centimetres (28+1⁄2 by 21+1⁄2 inches). It is in the Albright–Knox Art Gallery, Buffalo, New York.

Category:Paintings in the Buffalo AKG Art Museum


Notre-Dame, une fin d'après-midi

Prompt: In Notre-Dame, une fin d'après-midi, how is the abstract discussed?

Notre-Dame, une fin d'après-midi ("A Glimpse of Notre-Dame in the Late Afternoon") is a painting by Henri Matisse from 1902. Its somber coloration is typical of Matisse's works executed between the end of 1901 and the end of 1903, a period of personal difficulties for the artist. This episode has been called Matisse's Dark Period.The work is an oil painting on paper mounted on canvas and it measures 72.5 by 54.5 centimetres (28+1⁄2 by 21+1⁄2 inches). It is in the Albright–Knox Art Gallery, Buffalo, New York.

Category:Paintings in the Buffalo AKG Art Museum


Notre-Dame, une fin d'après-midi

Prompt: Focus on Notre-Dame, une fin d'après-midi and explain the Background.

Between 1896 and 1901, Matisse's painting had progressed from the subdued tones of his earliest works to an intense colorism that prefigured the Fauvism to come. In 1896 and 1897 he had traveled to Brittany, where the Australian painter John Russell encouraged him to paint en plein air. Through Russell he met Camille Pissarro, whose influence was decisive in making a colorist of Matisse. In 1898 he traveled to London, where he studied the works of J. M. W. Turner; then, after a year spent in Corsica and Toulouse, he returned to Paris, where the startling boldness of his work was admired by  other young artists. His paintings found few buyers, however, and his wife, Amélie, had to open a dress shop to support their household. In May 1902 a major financial scandal, the Humbert Affair, unexpectedly ensnared Amélie's family. Her mother (who was the Humbert family's housekeeper)  and father became scapegoats in the scandal; as a result, Matisse was forced to spend much of his time during the next year dealing with lawyers and journalists. His studio was searched by detectives, and his wife's family was menaced by angry mobs of fraud victims. According to art historian Hilary Spurling, "their public exposure, followed by the arrest of his father-in-law, left Matisse as the sole breadwinner for an extended family of seven. This is why he switched to painting canvases that were at least potentially saleable".Inspired by Rodin and Barye, Matisse struggled to master volume in sculpture as well as in painting. He darkened his palette, with the results seen in the present work, and in such paintings as Carmelina (1903, in the Museum of Fine Arts, Boston).

Category:Paintings in the Buffalo AKG Art Museum


Notre-Dame, une fin d'après-midi

Prompt: Explain the Background of this artwork, Notre-Dame, une fin d'après-midi.

Between 1896 and 1901, Matisse's painting had progressed from the subdued tones of his earliest works to an intense colorism that prefigured the Fauvism to come. In 1896 and 1897 he had traveled to Brittany, where the Australian painter John Russell encouraged him to paint en plein air. Through Russell he met Camille Pissarro, whose influence was decisive in making a colorist of Matisse. In 1898 he traveled to London, where he studied the works of J. M. W. Turner; then, after a year spent in Corsica and Toulouse, he returned to Paris, where the startling boldness of his work was admired by  other young artists. His paintings found few buyers, however, and his wife, Amélie, had to open a dress shop to support their household. In May 1902 a major financial scandal, the Humbert Affair, unexpectedly ensnared Amélie's family. Her mother (who was the Humbert family's housekeeper)  and father became scapegoats in the scandal; as a result, Matisse was forced to spend much of his time during the next year dealing with lawyers and journalists. His studio was searched by detectives, and his wife's family was menaced by angry mobs of fraud victims. According to art historian Hilary Spurling, "their public exposure, followed by the arrest of his father-in-law, left Matisse as the sole breadwinner for an extended family of seven. This is why he switched to painting canvases that were at least potentially saleable".Inspired by Rodin and Barye, Matisse struggled to master volume in sculpture as well as in painting. He darkened his palette, with the results seen in the present work, and in such paintings as Carmelina (1903, in the Museum of Fine Arts, Boston).

Category:Paintings in the Buffalo AKG Art Museum


Notre-Dame, une fin d'après-midi

Prompt: How does Notre-Dame, une fin d'après-midi explain its Background?

Between 1896 and 1901, Matisse's painting had progressed from the subdued tones of his earliest works to an intense colorism that prefigured the Fauvism to come. In 1896 and 1897 he had traveled to Brittany, where the Australian painter John Russell encouraged him to paint en plein air. Through Russell he met Camille Pissarro, whose influence was decisive in making a colorist of Matisse. In 1898 he traveled to London, where he studied the works of J. M. W. Turner; then, after a year spent in Corsica and Toulouse, he returned to Paris, where the startling boldness of his work was admired by  other young artists. His paintings found few buyers, however, and his wife, Amélie, had to open a dress shop to support their household. In May 1902 a major financial scandal, the Humbert Affair, unexpectedly ensnared Amélie's family. Her mother (who was the Humbert family's housekeeper)  and father became scapegoats in the scandal; as a result, Matisse was forced to spend much of his time during the next year dealing with lawyers and journalists. His studio was searched by detectives, and his wife's family was menaced by angry mobs of fraud victims. According to art historian Hilary Spurling, "their public exposure, followed by the arrest of his father-in-law, left Matisse as the sole breadwinner for an extended family of seven. This is why he switched to painting canvases that were at least potentially saleable".Inspired by Rodin and Barye, Matisse struggled to master volume in sculpture as well as in painting. He darkened his palette, with the results seen in the present work, and in such paintings as Carmelina (1903, in the Museum of Fine Arts, Boston).

Category:Paintings in the Buffalo AKG Art Museum


Notre-Dame, une fin d'après-midi

Prompt: In Notre-Dame, une fin d'après-midi, how is the Background discussed?

Between 1896 and 1901, Matisse's painting had progressed from the subdued tones of his earliest works to an intense colorism that prefigured the Fauvism to come. In 1896 and 1897 he had traveled to Brittany, where the Australian painter John Russell encouraged him to paint en plein air. Through Russell he met Camille Pissarro, whose influence was decisive in making a colorist of Matisse. In 1898 he traveled to London, where he studied the works of J. M. W. Turner; then, after a year spent in Corsica and Toulouse, he returned to Paris, where the startling boldness of his work was admired by  other young artists. His paintings found few buyers, however, and his wife, Amélie, had to open a dress shop to support their household. In May 1902 a major financial scandal, the Humbert Affair, unexpectedly ensnared Amélie's family. Her mother (who was the Humbert family's housekeeper)  and father became scapegoats in the scandal; as a result, Matisse was forced to spend much of his time during the next year dealing with lawyers and journalists. His studio was searched by detectives, and his wife's family was menaced by angry mobs of fraud victims. According to art historian Hilary Spurling, "their public exposure, followed by the arrest of his father-in-law, left Matisse as the sole breadwinner for an extended family of seven. This is why he switched to painting canvases that were at least potentially saleable".Inspired by Rodin and Barye, Matisse struggled to master volume in sculpture as well as in painting. He darkened his palette, with the results seen in the present work, and in such paintings as Carmelina (1903, in the Museum of Fine Arts, Boston).

Category:Paintings in the Buffalo AKG Art Museum


A Vision of Fiammetta

Prompt: Focus on A Vision of Fiammetta and explain the abstract.

A Vision of Fiammetta is an oil painting created by Dante Gabriel Rossetti, in the Pre-Raphaelite style, created in 1878. The painting was one half of one of Rossetti's "double works", accompanying his Ballads and Sonnets (1881). Maria Spartali Stillman modelled for the painting. The subject of painting is Boccaccio's muse named Fiammetta.

Category:Paintings by Dante Gabriel Rossetti

List of paintings by Dante Gabriel Rossetti


A Vision of Fiammetta

Prompt: Explain the abstract of this artwork, A Vision of Fiammetta.

A Vision of Fiammetta is an oil painting created by Dante Gabriel Rossetti, in the Pre-Raphaelite style, created in 1878. The painting was one half of one of Rossetti's "double works", accompanying his Ballads and Sonnets (1881). Maria Spartali Stillman modelled for the painting. The subject of painting is Boccaccio's muse named Fiammetta.

Category:Paintings by Dante Gabriel Rossetti

List of paintings by Dante Gabriel Rossetti


A Vision of Fiammetta

Prompt: How does A Vision of Fiammetta explain its abstract?

A Vision of Fiammetta is an oil painting created by Dante Gabriel Rossetti, in the Pre-Raphaelite style, created in 1878. The painting was one half of one of Rossetti's "double works", accompanying his Ballads and Sonnets (1881). Maria Spartali Stillman modelled for the painting. The subject of painting is Boccaccio's muse named Fiammetta.

Category:Paintings by Dante Gabriel Rossetti

List of paintings by Dante Gabriel Rossetti


A Vision of Fiammetta

Prompt: In A Vision of Fiammetta, how is the abstract discussed?

A Vision of Fiammetta is an oil painting created by Dante Gabriel Rossetti, in the Pre-Raphaelite style, created in 1878. The painting was one half of one of Rossetti's "double works", accompanying his Ballads and Sonnets (1881). Maria Spartali Stillman modelled for the painting. The subject of painting is Boccaccio's muse named Fiammetta.

Category:Paintings by Dante Gabriel Rossetti

List of paintings by Dante Gabriel Rossetti


A Vision of Fiammetta

Prompt: Focus on A Vision of Fiammetta and explain the Subject.

The frame of the painting is inscribed with three texts: the sonnet by Boccaccio entitled "On his Last Sight of Fiammetta," which inspired the painting; Rossetti's translation of it, and his own poem mirroring the painting:Behold Fiammetta, shown in Vision here.Gloom-girt 'mid Spring-flushed apple-growth she stands;And as she sways the branches with her hands,Along her arm the sundered bloom falls sheer,In separate petals shed, each like a tear;While from the quivering bough the bird expandsHis wings. And lo! thy spirit understandsLife shaken and shower'd and flown, and Death drawn near.All stirs with change. Her garments beat the air:The angel circling round her aureoleShimmers in flight against the tree's grey bole:While she, with reassuring eyes most fair,A presage and a promise stands; as 'twereOn Death's dark storm the rainbow of the Soul.

Category:Paintings by Dante Gabriel Rossetti

List of paintings by Dante Gabriel Rossetti


A Vision of Fiammetta

Prompt: Explain the Subject of this artwork, A Vision of Fiammetta.

The frame of the painting is inscribed with three texts: the sonnet by Boccaccio entitled "On his Last Sight of Fiammetta," which inspired the painting; Rossetti's translation of it, and his own poem mirroring the painting:Behold Fiammetta, shown in Vision here.Gloom-girt 'mid Spring-flushed apple-growth she stands;And as she sways the branches with her hands,Along her arm the sundered bloom falls sheer,In separate petals shed, each like a tear;While from the quivering bough the bird expandsHis wings. And lo! thy spirit understandsLife shaken and shower'd and flown, and Death drawn near.All stirs with change. Her garments beat the air:The angel circling round her aureoleShimmers in flight against the tree's grey bole:While she, with reassuring eyes most fair,A presage and a promise stands; as 'twereOn Death's dark storm the rainbow of the Soul.

Category:Paintings by Dante Gabriel Rossetti

List of paintings by Dante Gabriel Rossetti


A Vision of Fiammetta

Prompt: How does A Vision of Fiammetta explain its Subject?

The frame of the painting is inscribed with three texts: the sonnet by Boccaccio entitled "On his Last Sight of Fiammetta," which inspired the painting; Rossetti's translation of it, and his own poem mirroring the painting:Behold Fiammetta, shown in Vision here.Gloom-girt 'mid Spring-flushed apple-growth she stands;And as she sways the branches with her hands,Along her arm the sundered bloom falls sheer,In separate petals shed, each like a tear;While from the quivering bough the bird expandsHis wings. And lo! thy spirit understandsLife shaken and shower'd and flown, and Death drawn near.All stirs with change. Her garments beat the air:The angel circling round her aureoleShimmers in flight against the tree's grey bole:While she, with reassuring eyes most fair,A presage and a promise stands; as 'twereOn Death's dark storm the rainbow of the Soul.

Category:Paintings by Dante Gabriel Rossetti

List of paintings by Dante Gabriel Rossetti


A Vision of Fiammetta

Prompt: In A Vision of Fiammetta, how is the Subject discussed?

The frame of the painting is inscribed with three texts: the sonnet by Boccaccio entitled "On his Last Sight of Fiammetta," which inspired the painting; Rossetti's translation of it, and his own poem mirroring the painting:Behold Fiammetta, shown in Vision here.Gloom-girt 'mid Spring-flushed apple-growth she stands;And as she sways the branches with her hands,Along her arm the sundered bloom falls sheer,In separate petals shed, each like a tear;While from the quivering bough the bird expandsHis wings. And lo! thy spirit understandsLife shaken and shower'd and flown, and Death drawn near.All stirs with change. Her garments beat the air:The angel circling round her aureoleShimmers in flight against the tree's grey bole:While she, with reassuring eyes most fair,A presage and a promise stands; as 'twereOn Death's dark storm the rainbow of the Soul.

Category:Paintings by Dante Gabriel Rossetti

List of paintings by Dante Gabriel Rossetti


A Vision of Fiammetta

Prompt: Focus on A Vision of Fiammetta and explain the Provenance.

The painting was originally in the possession of William Alfred Turner (1839-1886), a businessman, director for a time of the Edison Electric Lighting Company, who owned Joli cœur (1867 Manchester City Art Gallery), Water Willow, a chalk study for La Bella Mano, another one for Mnemosyne (1876, and the oil version of Proserpine (1877 collection privée). Through a sequence of other owners A Vision of Fiammetta has now found its way into the collection of Lord Andrew Lloyd Webber.

Category:Paintings by Dante Gabriel Rossetti

List of paintings by Dante Gabriel Rossetti


A Vision of Fiammetta

Prompt: Explain the Provenance of this artwork, A Vision of Fiammetta.

The painting was originally in the possession of William Alfred Turner (1839-1886), a businessman, director for a time of the Edison Electric Lighting Company, who owned Joli cœur (1867 Manchester City Art Gallery), Water Willow, a chalk study for La Bella Mano, another one for Mnemosyne (1876, and the oil version of Proserpine (1877 collection privée). Through a sequence of other owners A Vision of Fiammetta has now found its way into the collection of Lord Andrew Lloyd Webber.

Category:Paintings by Dante Gabriel Rossetti

List of paintings by Dante Gabriel Rossetti


A Vision of Fiammetta

Prompt: How does A Vision of Fiammetta explain its Provenance?

The painting was originally in the possession of William Alfred Turner (1839-1886), a businessman, director for a time of the Edison Electric Lighting Company, who owned Joli cœur (1867 Manchester City Art Gallery), Water Willow, a chalk study for La Bella Mano, another one for Mnemosyne (1876, and the oil version of Proserpine (1877 collection privée). Through a sequence of other owners A Vision of Fiammetta has now found its way into the collection of Lord Andrew Lloyd Webber.

Category:Paintings by Dante Gabriel Rossetti

List of paintings by Dante Gabriel Rossetti


A Vision of Fiammetta

Prompt: In A Vision of Fiammetta, how is the Provenance discussed?

The painting was originally in the possession of William Alfred Turner (1839-1886), a businessman, director for a time of the Edison Electric Lighting Company, who owned Joli cœur (1867 Manchester City Art Gallery), Water Willow, a chalk study for La Bella Mano, another one for Mnemosyne (1876, and the oil version of Proserpine (1877 collection privée). Through a sequence of other owners A Vision of Fiammetta has now found its way into the collection of Lord Andrew Lloyd Webber.

Category:Paintings by Dante Gabriel Rossetti

List of paintings by Dante Gabriel Rossetti


Joseph Lister Memorial

Prompt: Focus on Joseph Lister Memorial and explain the abstract.

The Joseph Lister Memorial is a memorial to Joseph Lister, 1st Baron Lister by the sculptor Thomas Brock, situated in Portland Place in Marylebone, London. The memorial is positioned in the centre of the road opposite numbers 71 to 81 and is Grade II listed. It is close to Lister's home at 12 Park Crescent.The memorial was unveiled by Sir John Bland-Sutton, President of the Royal College of Surgeons, on 13 March 1924. The base of the monument is made of grey Aberdeen granite. On top of the base is a bronze bust of Joseph Lister. At the front are the figures of a woman and a boy: the boy is holding a garland of flowers; the woman is pointing to Lister with her right hand.A little way to the north in Park Crescent is the 1824 statue of the Duke of Kent, the father of Queen Victoria.

Category:Grade II listed statues in the City of Westminster

Category:Monuments and memorials in London

Category:Sculptures of men in the United Kingdom

Category:Sculptures of children in London

Prince Edward, Duke of Kent and Strathearn


Joseph Lister Memorial

Prompt: Explain the abstract of this artwork, Joseph Lister Memorial.

The Joseph Lister Memorial is a memorial to Joseph Lister, 1st Baron Lister by the sculptor Thomas Brock, situated in Portland Place in Marylebone, London. The memorial is positioned in the centre of the road opposite numbers 71 to 81 and is Grade II listed. It is close to Lister's home at 12 Park Crescent.The memorial was unveiled by Sir John Bland-Sutton, President of the Royal College of Surgeons, on 13 March 1924. The base of the monument is made of grey Aberdeen granite. On top of the base is a bronze bust of Joseph Lister. At the front are the figures of a woman and a boy: the boy is holding a garland of flowers; the woman is pointing to Lister with her right hand.A little way to the north in Park Crescent is the 1824 statue of the Duke of Kent, the father of Queen Victoria.

Category:Grade II listed statues in the City of Westminster

Category:Monuments and memorials in London

Category:Sculptures of men in the United Kingdom

Category:Sculptures of children in London

Prince Edward, Duke of Kent and Strathearn


Joseph Lister Memorial

Prompt: How does Joseph Lister Memorial explain its abstract?

The Joseph Lister Memorial is a memorial to Joseph Lister, 1st Baron Lister by the sculptor Thomas Brock, situated in Portland Place in Marylebone, London. The memorial is positioned in the centre of the road opposite numbers 71 to 81 and is Grade II listed. It is close to Lister's home at 12 Park Crescent.The memorial was unveiled by Sir John Bland-Sutton, President of the Royal College of Surgeons, on 13 March 1924. The base of the monument is made of grey Aberdeen granite. On top of the base is a bronze bust of Joseph Lister. At the front are the figures of a woman and a boy: the boy is holding a garland of flowers; the woman is pointing to Lister with her right hand.A little way to the north in Park Crescent is the 1824 statue of the Duke of Kent, the father of Queen Victoria.

Category:Grade II listed statues in the City of Westminster

Category:Monuments and memorials in London

Category:Sculptures of men in the United Kingdom

Category:Sculptures of children in London

Prince Edward, Duke of Kent and Strathearn


Joseph Lister Memorial

Prompt: In Joseph Lister Memorial, how is the abstract discussed?

The Joseph Lister Memorial is a memorial to Joseph Lister, 1st Baron Lister by the sculptor Thomas Brock, situated in Portland Place in Marylebone, London. The memorial is positioned in the centre of the road opposite numbers 71 to 81 and is Grade II listed. It is close to Lister's home at 12 Park Crescent.The memorial was unveiled by Sir John Bland-Sutton, President of the Royal College of Surgeons, on 13 March 1924. The base of the monument is made of grey Aberdeen granite. On top of the base is a bronze bust of Joseph Lister. At the front are the figures of a woman and a boy: the boy is holding a garland of flowers; the woman is pointing to Lister with her right hand.A little way to the north in Park Crescent is the 1824 statue of the Duke of Kent, the father of Queen Victoria.

Category:Grade II listed statues in the City of Westminster

Category:Monuments and memorials in London

Category:Sculptures of men in the United Kingdom

Category:Sculptures of children in London

Prince Edward, Duke of Kent and Strathearn


Portrait of Juan Martínez Montañés

Prompt: Focus on Portrait of Juan Martínez Montañés and explain the abstract.

The Portrait of Juan Martínez Montañés is an unfinished c.1635 oil on canvas portrait of the sculptor Juan Martínez Montañés by Diego Velázquez. It was in the Spanish royal collection, and is now in the collection of the Prado museum in Madrid.

Category:Portraits by Diego Velázquez in the Museo del Prado


Portrait of Juan Martínez Montañés

Prompt: Explain the abstract of this artwork, Portrait of Juan Martínez Montañés.

The Portrait of Juan Martínez Montañés is an unfinished c.1635 oil on canvas portrait of the sculptor Juan Martínez Montañés by Diego Velázquez. It was in the Spanish royal collection, and is now in the collection of the Prado museum in Madrid.

Category:Portraits by Diego Velázquez in the Museo del Prado


Portrait of Juan Martínez Montañés

Prompt: How does Portrait of Juan Martínez Montañés explain its abstract?

The Portrait of Juan Martínez Montañés is an unfinished c.1635 oil on canvas portrait of the sculptor Juan Martínez Montañés by Diego Velázquez. It was in the Spanish royal collection, and is now in the collection of the Prado museum in Madrid.

Category:Portraits by Diego Velázquez in the Museo del Prado


Portrait of Juan Martínez Montañés

Prompt: In Portrait of Juan Martínez Montañés, how is the abstract discussed?

The Portrait of Juan Martínez Montañés is an unfinished c.1635 oil on canvas portrait of the sculptor Juan Martínez Montañés by Diego Velázquez. It was in the Spanish royal collection, and is now in the collection of the Prado museum in Madrid.

Category:Portraits by Diego Velázquez in the Museo del Prado


Portrait of Juan Martínez Montañés

Prompt: Focus on Portrait of Juan Martínez Montañés and explain the History.

Some art historians have suggested that the subject is Velázquez's brother-in-law Alonso Cano, which would date it to Cano's visit to Madrid in 1658, but most agree it depicts Juan Martínez Montañés based on the resemblance to other identified portraits.  On that basis, this portrait was probably painted while its subject called on Velázquez during his visit to Madrid between June 1635 and January 1636. The painting measures 109 cm × 88 cm (43 in × 35 in).  Montañés was called to the Spanish royal court in Madrid in 1635 to make a clay bust of Philip IV of Spain as the modello for the Florentine sculptor Pietro Tacca to make a bronze equestrian statue of Philip which is now in the Plaza de Oriente in Madrid.  The portrait shows the sculptor working on the bust of the king, shaping the clay with a stick, although the painting is unfinished and the bust is only shown in outline. At a time when artists were often seen as craftsman, Velázquez enhances the sculptor's social status by depicting him in formal black dress with white collar and cuffs, like a nobleman. Like Cano and Velázquez, Montañés lived and worked in Seville, but he was from the previous artistic generation: at the time of the portrait, Velázquez was 36, but Montañés was 67.  Montañés was well known to Velázquez, as Velázquez's master and father-in-law, Francisco Pacheco, had painted many sculptures made by Montañés.

Category:Portraits by Diego Velázquez in the Museo del Prado


Portrait of Juan Martínez Montañés

Prompt: Explain the History of this artwork, Portrait of Juan Martínez Montañés.

Some art historians have suggested that the subject is Velázquez's brother-in-law Alonso Cano, which would date it to Cano's visit to Madrid in 1658, but most agree it depicts Juan Martínez Montañés based on the resemblance to other identified portraits.  On that basis, this portrait was probably painted while its subject called on Velázquez during his visit to Madrid between June 1635 and January 1636. The painting measures 109 cm × 88 cm (43 in × 35 in).  Montañés was called to the Spanish royal court in Madrid in 1635 to make a clay bust of Philip IV of Spain as the modello for the Florentine sculptor Pietro Tacca to make a bronze equestrian statue of Philip which is now in the Plaza de Oriente in Madrid.  The portrait shows the sculptor working on the bust of the king, shaping the clay with a stick, although the painting is unfinished and the bust is only shown in outline. At a time when artists were often seen as craftsman, Velázquez enhances the sculptor's social status by depicting him in formal black dress with white collar and cuffs, like a nobleman. Like Cano and Velázquez, Montañés lived and worked in Seville, but he was from the previous artistic generation: at the time of the portrait, Velázquez was 36, but Montañés was 67.  Montañés was well known to Velázquez, as Velázquez's master and father-in-law, Francisco Pacheco, had painted many sculptures made by Montañés.

Category:Portraits by Diego Velázquez in the Museo del Prado


Portrait of Juan Martínez Montañés

Prompt: How does Portrait of Juan Martínez Montañés explain its History?

Some art historians have suggested that the subject is Velázquez's brother-in-law Alonso Cano, which would date it to Cano's visit to Madrid in 1658, but most agree it depicts Juan Martínez Montañés based on the resemblance to other identified portraits.  On that basis, this portrait was probably painted while its subject called on Velázquez during his visit to Madrid between June 1635 and January 1636. The painting measures 109 cm × 88 cm (43 in × 35 in).  Montañés was called to the Spanish royal court in Madrid in 1635 to make a clay bust of Philip IV of Spain as the modello for the Florentine sculptor Pietro Tacca to make a bronze equestrian statue of Philip which is now in the Plaza de Oriente in Madrid.  The portrait shows the sculptor working on the bust of the king, shaping the clay with a stick, although the painting is unfinished and the bust is only shown in outline. At a time when artists were often seen as craftsman, Velázquez enhances the sculptor's social status by depicting him in formal black dress with white collar and cuffs, like a nobleman. Like Cano and Velázquez, Montañés lived and worked in Seville, but he was from the previous artistic generation: at the time of the portrait, Velázquez was 36, but Montañés was 67.  Montañés was well known to Velázquez, as Velázquez's master and father-in-law, Francisco Pacheco, had painted many sculptures made by Montañés.

Category:Portraits by Diego Velázquez in the Museo del Prado


Portrait of Juan Martínez Montañés

Prompt: In Portrait of Juan Martínez Montañés, how is the History discussed?

Some art historians have suggested that the subject is Velázquez's brother-in-law Alonso Cano, which would date it to Cano's visit to Madrid in 1658, but most agree it depicts Juan Martínez Montañés based on the resemblance to other identified portraits.  On that basis, this portrait was probably painted while its subject called on Velázquez during his visit to Madrid between June 1635 and January 1636. The painting measures 109 cm × 88 cm (43 in × 35 in).  Montañés was called to the Spanish royal court in Madrid in 1635 to make a clay bust of Philip IV of Spain as the modello for the Florentine sculptor Pietro Tacca to make a bronze equestrian statue of Philip which is now in the Plaza de Oriente in Madrid.  The portrait shows the sculptor working on the bust of the king, shaping the clay with a stick, although the painting is unfinished and the bust is only shown in outline. At a time when artists were often seen as craftsman, Velázquez enhances the sculptor's social status by depicting him in formal black dress with white collar and cuffs, like a nobleman. Like Cano and Velázquez, Montañés lived and worked in Seville, but he was from the previous artistic generation: at the time of the portrait, Velázquez was 36, but Montañés was 67.  Montañés was well known to Velázquez, as Velázquez's master and father-in-law, Francisco Pacheco, had painted many sculptures made by Montañés.

Category:Portraits by Diego Velázquez in the Museo del Prado


Australian Farmer

Prompt: Focus on Australian Farmer and explain the abstract.

The Australian Farmer (also known as the Big Farmer) is a statue located in Wudinna, South Australia. Regarded as one of Australia's Big Things, the granite sculpture stands at 8 metres (26 ft) in height, and weighs in the vicinity of 70 tonnes. It took 17 years to produce from initial proposal to the final unveiling in 2009, and two years for the artist, Marijan Bekic (with the assistance of his son, David), to carve. The stylised work of a farmer represents the early settlers of the region, with carvings symbolising grain and sheep found within the sculpture.

radio
Federal
South Australia
Liz Penfold
Ceduna, South Australia
Cereal
grain crops
statue
Big Things
Adelaide
Parliament of Australia
Category:Agriculture in Australia
Australia's big things
Rowan Ramsey
Wudinna, South Australia
granite
The Advertiser (Adelaide)
Rural Press
State
Category:Granite sculptures
Australia
Sheep
Australian Broadcasting Corporation's
Australian Broadcasting Corporation
Wudinna District Council
Parliament of South Australia
Category:2009 sculptures
Category:Big things in South Australia
ABC Local Radio
Peter Goers
Wudinna
The Advertiser
Marijan Bekic
Category:Colossal statues in Australia


Australian Farmer

Prompt: Explain the abstract of this artwork, Australian Farmer.

The Australian Farmer (also known as the Big Farmer) is a statue located in Wudinna, South Australia. Regarded as one of Australia's Big Things, the granite sculpture stands at 8 metres (26 ft) in height, and weighs in the vicinity of 70 tonnes. It took 17 years to produce from initial proposal to the final unveiling in 2009, and two years for the artist, Marijan Bekic (with the assistance of his son, David), to carve. The stylised work of a farmer represents the early settlers of the region, with carvings symbolising grain and sheep found within the sculpture.

radio
Federal
South Australia
Liz Penfold
Ceduna, South Australia
Cereal
grain crops
statue
Big Things
Adelaide
Parliament of Australia
Category:Agriculture in Australia
Australia's big things
Rowan Ramsey
Wudinna, South Australia
granite
The Advertiser (Adelaide)
Rural Press
State
Category:Granite sculptures
Australia
Sheep
Australian Broadcasting Corporation's
Australian Broadcasting Corporation
Wudinna District Council
Parliament of South Australia
Category:2009 sculptures
Category:Big things in South Australia
ABC Local Radio
Peter Goers
Wudinna
The Advertiser
Marijan Bekic
Category:Colossal statues in Australia


Australian Farmer

Prompt: How does Australian Farmer explain its abstract?

The Australian Farmer (also known as the Big Farmer) is a statue located in Wudinna, South Australia. Regarded as one of Australia's Big Things, the granite sculpture stands at 8 metres (26 ft) in height, and weighs in the vicinity of 70 tonnes. It took 17 years to produce from initial proposal to the final unveiling in 2009, and two years for the artist, Marijan Bekic (with the assistance of his son, David), to carve. The stylised work of a farmer represents the early settlers of the region, with carvings symbolising grain and sheep found within the sculpture.

radio
Federal
South Australia
Liz Penfold
Ceduna, South Australia
Cereal
grain crops
statue
Big Things
Adelaide
Parliament of Australia
Category:Agriculture in Australia
Australia's big things
Rowan Ramsey
Wudinna, South Australia
granite
The Advertiser (Adelaide)
Rural Press
State
Category:Granite sculptures
Australia
Sheep
Australian Broadcasting Corporation's
Australian Broadcasting Corporation
Wudinna District Council
Parliament of South Australia
Category:2009 sculptures
Category:Big things in South Australia
ABC Local Radio
Peter Goers
Wudinna
The Advertiser
Marijan Bekic
Category:Colossal statues in Australia


Australian Farmer

Prompt: In Australian Farmer, how is the abstract discussed?

The Australian Farmer (also known as the Big Farmer) is a statue located in Wudinna, South Australia. Regarded as one of Australia's Big Things, the granite sculpture stands at 8 metres (26 ft) in height, and weighs in the vicinity of 70 tonnes. It took 17 years to produce from initial proposal to the final unveiling in 2009, and two years for the artist, Marijan Bekic (with the assistance of his son, David), to carve. The stylised work of a farmer represents the early settlers of the region, with carvings symbolising grain and sheep found within the sculpture.

radio
Federal
South Australia
Liz Penfold
Ceduna, South Australia
Cereal
grain crops
statue
Big Things
Adelaide
Parliament of Australia
Category:Agriculture in Australia
Australia's big things
Rowan Ramsey
Wudinna, South Australia
granite
The Advertiser (Adelaide)
Rural Press
State
Category:Granite sculptures
Australia
Sheep
Australian Broadcasting Corporation's
Australian Broadcasting Corporation
Wudinna District Council
Parliament of South Australia
Category:2009 sculptures
Category:Big things in South Australia
ABC Local Radio
Peter Goers
Wudinna
The Advertiser
Marijan Bekic
Category:Colossal statues in Australia


Australian Farmer

Prompt: Focus on Australian Farmer and explain the History.

The former District Council of Le Hunte (now Wudinna District Council) first proposed the idea of a community project in 1992, and the focus quickly moved to the construction of a memorial to the early settlers of the region. Given that the area is well known for its granite, it was decided that the project should incorporate the material, and a request for tender was announced in 1999. Croatian-born artist Marijan Bekic responded to the advertisement, producing a scale model of his concept, and this was shown to the local community.With the community's support of the concept in hand, the council sought a grant to fund the project. Although this was not forthcoming, land was donated by the Wudinna & Districts Telecentre, various companies provided sponsorship, and local residents offered food and accommodation for the artist. The result was that the project commenced in 2007, with a projected construction time of twelve months. The project ended up taking the artist and his son two years to complete, and it was unveiled on 17 April 2009. The unveiling was preceded by a number of local events, including a live radio broadcast by the Australian Broadcasting Corporation's Peter Goers. The official launch was attended by over 1000 people, with Federal and State politicians Rowan Ramsey and Liz Penfold making an appearance.In August 2009, the Australian Farmer was nominated for a Ruby Award in the "Community Impact (over $100,000)" category.

radio
Federal
South Australia
Liz Penfold
Ceduna, South Australia
Cereal
grain crops
statue
Big Things
Adelaide
Parliament of Australia
Category:Agriculture in Australia
Australia's big things
Rowan Ramsey
Wudinna, South Australia
granite
The Advertiser (Adelaide)
Rural Press
State
Category:Granite sculptures
Australia
Sheep
Australian Broadcasting Corporation's
Australian Broadcasting Corporation
Wudinna District Council
Parliament of South Australia
Category:2009 sculptures
Category:Big things in South Australia
ABC Local Radio
Peter Goers
Wudinna
The Advertiser
Marijan Bekic
Category:Colossal statues in Australia


Australian Farmer

Prompt: Explain the History of this artwork, Australian Farmer.

The former District Council of Le Hunte (now Wudinna District Council) first proposed the idea of a community project in 1992, and the focus quickly moved to the construction of a memorial to the early settlers of the region. Given that the area is well known for its granite, it was decided that the project should incorporate the material, and a request for tender was announced in 1999. Croatian-born artist Marijan Bekic responded to the advertisement, producing a scale model of his concept, and this was shown to the local community.With the community's support of the concept in hand, the council sought a grant to fund the project. Although this was not forthcoming, land was donated by the Wudinna & Districts Telecentre, various companies provided sponsorship, and local residents offered food and accommodation for the artist. The result was that the project commenced in 2007, with a projected construction time of twelve months. The project ended up taking the artist and his son two years to complete, and it was unveiled on 17 April 2009. The unveiling was preceded by a number of local events, including a live radio broadcast by the Australian Broadcasting Corporation's Peter Goers. The official launch was attended by over 1000 people, with Federal and State politicians Rowan Ramsey and Liz Penfold making an appearance.In August 2009, the Australian Farmer was nominated for a Ruby Award in the "Community Impact (over $100,000)" category.

radio
Federal
South Australia
Liz Penfold
Ceduna, South Australia
Cereal
grain crops
statue
Big Things
Adelaide
Parliament of Australia
Category:Agriculture in Australia
Australia's big things
Rowan Ramsey
Wudinna, South Australia
granite
The Advertiser (Adelaide)
Rural Press
State
Category:Granite sculptures
Australia
Sheep
Australian Broadcasting Corporation's
Australian Broadcasting Corporation
Wudinna District Council
Parliament of South Australia
Category:2009 sculptures
Category:Big things in South Australia
ABC Local Radio
Peter Goers
Wudinna
The Advertiser
Marijan Bekic
Category:Colossal statues in Australia


Australian Farmer

Prompt: How does Australian Farmer explain its History?

The former District Council of Le Hunte (now Wudinna District Council) first proposed the idea of a community project in 1992, and the focus quickly moved to the construction of a memorial to the early settlers of the region. Given that the area is well known for its granite, it was decided that the project should incorporate the material, and a request for tender was announced in 1999. Croatian-born artist Marijan Bekic responded to the advertisement, producing a scale model of his concept, and this was shown to the local community.With the community's support of the concept in hand, the council sought a grant to fund the project. Although this was not forthcoming, land was donated by the Wudinna & Districts Telecentre, various companies provided sponsorship, and local residents offered food and accommodation for the artist. The result was that the project commenced in 2007, with a projected construction time of twelve months. The project ended up taking the artist and his son two years to complete, and it was unveiled on 17 April 2009. The unveiling was preceded by a number of local events, including a live radio broadcast by the Australian Broadcasting Corporation's Peter Goers. The official launch was attended by over 1000 people, with Federal and State politicians Rowan Ramsey and Liz Penfold making an appearance.In August 2009, the Australian Farmer was nominated for a Ruby Award in the "Community Impact (over $100,000)" category.

radio
Federal
South Australia
Liz Penfold
Ceduna, South Australia
Cereal
grain crops
statue
Big Things
Adelaide
Parliament of Australia
Category:Agriculture in Australia
Australia's big things
Rowan Ramsey
Wudinna, South Australia
granite
The Advertiser (Adelaide)
Rural Press
State
Category:Granite sculptures
Australia
Sheep
Australian Broadcasting Corporation's
Australian Broadcasting Corporation
Wudinna District Council
Parliament of South Australia
Category:2009 sculptures
Category:Big things in South Australia
ABC Local Radio
Peter Goers
Wudinna
The Advertiser
Marijan Bekic
Category:Colossal statues in Australia


Australian Farmer

Prompt: In Australian Farmer, how is the History discussed?

The former District Council of Le Hunte (now Wudinna District Council) first proposed the idea of a community project in 1992, and the focus quickly moved to the construction of a memorial to the early settlers of the region. Given that the area is well known for its granite, it was decided that the project should incorporate the material, and a request for tender was announced in 1999. Croatian-born artist Marijan Bekic responded to the advertisement, producing a scale model of his concept, and this was shown to the local community.With the community's support of the concept in hand, the council sought a grant to fund the project. Although this was not forthcoming, land was donated by the Wudinna & Districts Telecentre, various companies provided sponsorship, and local residents offered food and accommodation for the artist. The result was that the project commenced in 2007, with a projected construction time of twelve months. The project ended up taking the artist and his son two years to complete, and it was unveiled on 17 April 2009. The unveiling was preceded by a number of local events, including a live radio broadcast by the Australian Broadcasting Corporation's Peter Goers. The official launch was attended by over 1000 people, with Federal and State politicians Rowan Ramsey and Liz Penfold making an appearance.In August 2009, the Australian Farmer was nominated for a Ruby Award in the "Community Impact (over $100,000)" category.

radio
Federal
South Australia
Liz Penfold
Ceduna, South Australia
Cereal
grain crops
statue
Big Things
Adelaide
Parliament of Australia
Category:Agriculture in Australia
Australia's big things
Rowan Ramsey
Wudinna, South Australia
granite
The Advertiser (Adelaide)
Rural Press
State
Category:Granite sculptures
Australia
Sheep
Australian Broadcasting Corporation's
Australian Broadcasting Corporation
Wudinna District Council
Parliament of South Australia
Category:2009 sculptures
Category:Big things in South Australia
ABC Local Radio
Peter Goers
Wudinna
The Advertiser
Marijan Bekic
Category:Colossal statues in Australia


Australian Farmer

Prompt: Focus on Australian Farmer and explain the Design and construction.

Standing at 8 metres (26 ft) in height, the work was hand-carved from 70 tonnes (69 long tons; 77 short tons) of local granite. The sculpture is a stylised representation of a farmer. While it takes a basic human form, the top represents the sun, while in the body are carved grain crops. Sheep are placed at the foot of the statue, representing the sheep farmers in the district as well as creating the feet of the figure when viewed from a distance.

radio
Federal
South Australia
Liz Penfold
Ceduna, South Australia
Cereal
grain crops
statue
Big Things
Adelaide
Parliament of Australia
Category:Agriculture in Australia
Australia's big things
Rowan Ramsey
Wudinna, South Australia
granite
The Advertiser (Adelaide)
Rural Press
State
Category:Granite sculptures
Australia
Sheep
Australian Broadcasting Corporation's
Australian Broadcasting Corporation
Wudinna District Council
Parliament of South Australia
Category:2009 sculptures
Category:Big things in South Australia
ABC Local Radio
Peter Goers
Wudinna
The Advertiser
Marijan Bekic
Category:Colossal statues in Australia


Australian Farmer

Prompt: Explain the Design and construction of this artwork, Australian Farmer.

Standing at 8 metres (26 ft) in height, the work was hand-carved from 70 tonnes (69 long tons; 77 short tons) of local granite. The sculpture is a stylised representation of a farmer. While it takes a basic human form, the top represents the sun, while in the body are carved grain crops. Sheep are placed at the foot of the statue, representing the sheep farmers in the district as well as creating the feet of the figure when viewed from a distance.

radio
Federal
South Australia
Liz Penfold
Ceduna, South Australia
Cereal
grain crops
statue
Big Things
Adelaide
Parliament of Australia
Category:Agriculture in Australia
Australia's big things
Rowan Ramsey
Wudinna, South Australia
granite
The Advertiser (Adelaide)
Rural Press
State
Category:Granite sculptures
Australia
Sheep
Australian Broadcasting Corporation's
Australian Broadcasting Corporation
Wudinna District Council
Parliament of South Australia
Category:2009 sculptures
Category:Big things in South Australia
ABC Local Radio
Peter Goers
Wudinna
The Advertiser
Marijan Bekic
Category:Colossal statues in Australia


Australian Farmer

Prompt: How does Australian Farmer explain its Design and construction?

Standing at 8 metres (26 ft) in height, the work was hand-carved from 70 tonnes (69 long tons; 77 short tons) of local granite. The sculpture is a stylised representation of a farmer. While it takes a basic human form, the top represents the sun, while in the body are carved grain crops. Sheep are placed at the foot of the statue, representing the sheep farmers in the district as well as creating the feet of the figure when viewed from a distance.

radio
Federal
South Australia
Liz Penfold
Ceduna, South Australia
Cereal
grain crops
statue
Big Things
Adelaide
Parliament of Australia
Category:Agriculture in Australia
Australia's big things
Rowan Ramsey
Wudinna, South Australia
granite
The Advertiser (Adelaide)
Rural Press
State
Category:Granite sculptures
Australia
Sheep
Australian Broadcasting Corporation's
Australian Broadcasting Corporation
Wudinna District Council
Parliament of South Australia
Category:2009 sculptures
Category:Big things in South Australia
ABC Local Radio
Peter Goers
Wudinna
The Advertiser
Marijan Bekic
Category:Colossal statues in Australia


Australian Farmer

Prompt: In Australian Farmer, how is the Design and construction discussed?

Standing at 8 metres (26 ft) in height, the work was hand-carved from 70 tonnes (69 long tons; 77 short tons) of local granite. The sculpture is a stylised representation of a farmer. While it takes a basic human form, the top represents the sun, while in the body are carved grain crops. Sheep are placed at the foot of the statue, representing the sheep farmers in the district as well as creating the feet of the figure when viewed from a distance.

radio
Federal
South Australia
Liz Penfold
Ceduna, South Australia
Cereal
grain crops
statue
Big Things
Adelaide
Parliament of Australia
Category:Agriculture in Australia
Australia's big things
Rowan Ramsey
Wudinna, South Australia
granite
The Advertiser (Adelaide)
Rural Press
State
Category:Granite sculptures
Australia
Sheep
Australian Broadcasting Corporation's
Australian Broadcasting Corporation
Wudinna District Council
Parliament of South Australia
Category:2009 sculptures
Category:Big things in South Australia
ABC Local Radio
Peter Goers
Wudinna
The Advertiser
Marijan Bekic
Category:Colossal statues in Australia


The Last Judgment (Klontzas)

Prompt: Focus on The Last Judgment (Klontzas) and explain the abstract.

The Last Judgment, otherwise known as The Second Coming, is a late 16th-century Eastern Orthodox icon by Georgios Klontzas. The painting is a depiction of the return of Jesus Christ on the Day of Judgment. In Christianity, the Second Coming of Christ is believed to be the final and infinite judgment by God of the people of every nation, resulting in the salvation for some and the damnation for others. This icon and other works by Klontzas are currently preserved in the Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice, Italy.Klontzas was a Byzantine Greek artist and émigré from the island of Crete in the period following the end of the Byzantine Empire, and member of the Cretan School. His artistic output was during the second half of the 16th century. He was affiliated with the early works of El Greco and one of the most productive Greek painters of the 16th century, along with Michael Damaskinos Most of his works were copied by other artists. His version of the Second Coming was used as a framework for other artists during the late period of the Cretan School. Leos Moskos and Francheskos Kavertzas both created similar versions.The Judgment story has been reproduced in art since the inception of Christianity. Both Greek and Italian Byzantine artists used the theme. Notable Italian artist Fra Angelico created many versions of The Last Judgment. Michelangelo also used the theme in the Sistine Chapel. His work there was one of the most important works of the 16th century. Klontzas may have been exposed to the work and other Italian prototypes. Klontzas used the theme multiple times he also has a triptych featuring the Last Judgment. Both The Last Judgement Triptych and this work are preserved in the collection of the Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice, Italy.

Category:Paintings of Hebrew Bible prophets

Category:Paintings of Michael (archangel)

Category:Paintings of Book of Daniel people

Category:Eastern Orthodox icons of the Virgin Mary

Category:Paintings of the Sacrifice of Isaac


The Last Judgment (Klontzas)

Prompt: Explain the abstract of this artwork, The Last Judgment (Klontzas).

The Last Judgment, otherwise known as The Second Coming, is a late 16th-century Eastern Orthodox icon by Georgios Klontzas. The painting is a depiction of the return of Jesus Christ on the Day of Judgment. In Christianity, the Second Coming of Christ is believed to be the final and infinite judgment by God of the people of every nation, resulting in the salvation for some and the damnation for others. This icon and other works by Klontzas are currently preserved in the Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice, Italy.Klontzas was a Byzantine Greek artist and émigré from the island of Crete in the period following the end of the Byzantine Empire, and member of the Cretan School. His artistic output was during the second half of the 16th century. He was affiliated with the early works of El Greco and one of the most productive Greek painters of the 16th century, along with Michael Damaskinos Most of his works were copied by other artists. His version of the Second Coming was used as a framework for other artists during the late period of the Cretan School. Leos Moskos and Francheskos Kavertzas both created similar versions.The Judgment story has been reproduced in art since the inception of Christianity. Both Greek and Italian Byzantine artists used the theme. Notable Italian artist Fra Angelico created many versions of The Last Judgment. Michelangelo also used the theme in the Sistine Chapel. His work there was one of the most important works of the 16th century. Klontzas may have been exposed to the work and other Italian prototypes. Klontzas used the theme multiple times he also has a triptych featuring the Last Judgment. Both The Last Judgement Triptych and this work are preserved in the collection of the Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice, Italy.

Category:Paintings of Hebrew Bible prophets

Category:Paintings of Michael (archangel)

Category:Paintings of Book of Daniel people

Category:Eastern Orthodox icons of the Virgin Mary

Category:Paintings of the Sacrifice of Isaac


The Last Judgment (Klontzas)

Prompt: How does The Last Judgment (Klontzas) explain its abstract?

The Last Judgment, otherwise known as The Second Coming, is a late 16th-century Eastern Orthodox icon by Georgios Klontzas. The painting is a depiction of the return of Jesus Christ on the Day of Judgment. In Christianity, the Second Coming of Christ is believed to be the final and infinite judgment by God of the people of every nation, resulting in the salvation for some and the damnation for others. This icon and other works by Klontzas are currently preserved in the Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice, Italy.Klontzas was a Byzantine Greek artist and émigré from the island of Crete in the period following the end of the Byzantine Empire, and member of the Cretan School. His artistic output was during the second half of the 16th century. He was affiliated with the early works of El Greco and one of the most productive Greek painters of the 16th century, along with Michael Damaskinos Most of his works were copied by other artists. His version of the Second Coming was used as a framework for other artists during the late period of the Cretan School. Leos Moskos and Francheskos Kavertzas both created similar versions.The Judgment story has been reproduced in art since the inception of Christianity. Both Greek and Italian Byzantine artists used the theme. Notable Italian artist Fra Angelico created many versions of The Last Judgment. Michelangelo also used the theme in the Sistine Chapel. His work there was one of the most important works of the 16th century. Klontzas may have been exposed to the work and other Italian prototypes. Klontzas used the theme multiple times he also has a triptych featuring the Last Judgment. Both The Last Judgement Triptych and this work are preserved in the collection of the Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice, Italy.

Category:Paintings of Hebrew Bible prophets

Category:Paintings of Michael (archangel)

Category:Paintings of Book of Daniel people

Category:Eastern Orthodox icons of the Virgin Mary

Category:Paintings of the Sacrifice of Isaac


The Last Judgment (Klontzas)

Prompt: In The Last Judgment (Klontzas), how is the abstract discussed?

The Last Judgment, otherwise known as The Second Coming, is a late 16th-century Eastern Orthodox icon by Georgios Klontzas. The painting is a depiction of the return of Jesus Christ on the Day of Judgment. In Christianity, the Second Coming of Christ is believed to be the final and infinite judgment by God of the people of every nation, resulting in the salvation for some and the damnation for others. This icon and other works by Klontzas are currently preserved in the Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice, Italy.Klontzas was a Byzantine Greek artist and émigré from the island of Crete in the period following the end of the Byzantine Empire, and member of the Cretan School. His artistic output was during the second half of the 16th century. He was affiliated with the early works of El Greco and one of the most productive Greek painters of the 16th century, along with Michael Damaskinos Most of his works were copied by other artists. His version of the Second Coming was used as a framework for other artists during the late period of the Cretan School. Leos Moskos and Francheskos Kavertzas both created similar versions.The Judgment story has been reproduced in art since the inception of Christianity. Both Greek and Italian Byzantine artists used the theme. Notable Italian artist Fra Angelico created many versions of The Last Judgment. Michelangelo also used the theme in the Sistine Chapel. His work there was one of the most important works of the 16th century. Klontzas may have been exposed to the work and other Italian prototypes. Klontzas used the theme multiple times he also has a triptych featuring the Last Judgment. Both The Last Judgement Triptych and this work are preserved in the collection of the Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice, Italy.

Category:Paintings of Hebrew Bible prophets

Category:Paintings of Michael (archangel)

Category:Paintings of Book of Daniel people

Category:Eastern Orthodox icons of the Virgin Mary

Category:Paintings of the Sacrifice of Isaac


The Last Judgment (Klontzas)

Prompt: Focus on The Last Judgment (Klontzas) and explain the Description.

The painting is egg tempera and gold leaf on wood panel. The dimensions are 127 cm (36.2 in) × 50 cm (18.5 in), it was completed between 1580 and 1608. Around the vertical axis above the river of fire, which ends in Hell, Jesus Christ appears in his Second Coming on Earth as both the Redeemer and judge before humankind; to his left is John the Baptist, and the Virgin Mary is on his right. The apostles and a multitude of angels are also present. The Day of Judgment has arrived. Under Jesus, there are angels on chariots. There are also symbols of the Four Evangelists and people awaiting the hour of Judgment.To the right and left of the cross, a magnificent musical ensemble appears, and four open books are presented by the artist. The books represent the book of life. Both Michelangelo and Fra Angelico feature similar figures. The musical angels are close to the gateway. Adjacent to the lava is the Archangel Michael with a sword guiding the damned into Purgatory. Under the scene is Hell.Klontzas features demons and dragons in several of his works. His demons are painted in superlative detail. His dragons are the common green color. His paintings exhibit the 16th-century interpretation of the historic monsters. A large figure, the Jewish prophet Daniel, is sitting on a rock, he holds a tablet facing the sinners. Below Daniel lies another large figure, which is the Israelite priest Ezekiel. He is in the lower portion facing the resurrection of the dead. They hold plaques with inscriptions referring to Hell. To our bottom left, there is a group of figures, the Greek inscription above them reads: "monks and martyrs". They are facing Daniel and Ezekiel. Above them there is another group. Their Greek inscription reads from left to right: "women and kings followed by bishops and patriarchs". The top group below the band to our left features Israelite kings, biblical patriarchs, and other figures from the Old Testament. The patriarch Noah is present, holding the Ark; the patriarch Abraham is standing next to him along with his son Isaac, which holds his sacrifice. The Hebrew prophet Moses is also present, holding the Tablets of Stone. The Jewish prophet Jonah appears with the whale at his feet.

Category:Paintings of Hebrew Bible prophets

Category:Paintings of Michael (archangel)

Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice

Category:Paintings of Book of Daniel people

Category:Eastern Orthodox icons of the Virgin Mary

Category:Paintings of the Sacrifice of Isaac


The Last Judgment (Klontzas)

Prompt: Explain the Description of this artwork, The Last Judgment (Klontzas).

The painting is egg tempera and gold leaf on wood panel. The dimensions are 127 cm (36.2 in) × 50 cm (18.5 in), it was completed between 1580 and 1608. Around the vertical axis above the river of fire, which ends in Hell, Jesus Christ appears in his Second Coming on Earth as both the Redeemer and judge before humankind; to his left is John the Baptist, and the Virgin Mary is on his right. The apostles and a multitude of angels are also present. The Day of Judgment has arrived. Under Jesus, there are angels on chariots. There are also symbols of the Four Evangelists and people awaiting the hour of Judgment.To the right and left of the cross, a magnificent musical ensemble appears, and four open books are presented by the artist. The books represent the book of life. Both Michelangelo and Fra Angelico feature similar figures. The musical angels are close to the gateway. Adjacent to the lava is the Archangel Michael with a sword guiding the damned into Purgatory. Under the scene is Hell.Klontzas features demons and dragons in several of his works. His demons are painted in superlative detail. His dragons are the common green color. His paintings exhibit the 16th-century interpretation of the historic monsters. A large figure, the Jewish prophet Daniel, is sitting on a rock, he holds a tablet facing the sinners. Below Daniel lies another large figure, which is the Israelite priest Ezekiel. He is in the lower portion facing the resurrection of the dead. They hold plaques with inscriptions referring to Hell. To our bottom left, there is a group of figures, the Greek inscription above them reads: "monks and martyrs". They are facing Daniel and Ezekiel. Above them there is another group. Their Greek inscription reads from left to right: "women and kings followed by bishops and patriarchs". The top group below the band to our left features Israelite kings, biblical patriarchs, and other figures from the Old Testament. The patriarch Noah is present, holding the Ark; the patriarch Abraham is standing next to him along with his son Isaac, which holds his sacrifice. The Hebrew prophet Moses is also present, holding the Tablets of Stone. The Jewish prophet Jonah appears with the whale at his feet.

Category:Paintings of Hebrew Bible prophets

Category:Paintings of Michael (archangel)

Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice

Category:Paintings of Book of Daniel people

Category:Eastern Orthodox icons of the Virgin Mary

Category:Paintings of the Sacrifice of Isaac


The Last Judgment (Klontzas)

Prompt: How does The Last Judgment (Klontzas) explain its Description?

The painting is egg tempera and gold leaf on wood panel. The dimensions are 127 cm (36.2 in) × 50 cm (18.5 in), it was completed between 1580 and 1608. Around the vertical axis above the river of fire, which ends in Hell, Jesus Christ appears in his Second Coming on Earth as both the Redeemer and judge before humankind; to his left is John the Baptist, and the Virgin Mary is on his right. The apostles and a multitude of angels are also present. The Day of Judgment has arrived. Under Jesus, there are angels on chariots. There are also symbols of the Four Evangelists and people awaiting the hour of Judgment.To the right and left of the cross, a magnificent musical ensemble appears, and four open books are presented by the artist. The books represent the book of life. Both Michelangelo and Fra Angelico feature similar figures. The musical angels are close to the gateway. Adjacent to the lava is the Archangel Michael with a sword guiding the damned into Purgatory. Under the scene is Hell.Klontzas features demons and dragons in several of his works. His demons are painted in superlative detail. His dragons are the common green color. His paintings exhibit the 16th-century interpretation of the historic monsters. A large figure, the Jewish prophet Daniel, is sitting on a rock, he holds a tablet facing the sinners. Below Daniel lies another large figure, which is the Israelite priest Ezekiel. He is in the lower portion facing the resurrection of the dead. They hold plaques with inscriptions referring to Hell. To our bottom left, there is a group of figures, the Greek inscription above them reads: "monks and martyrs". They are facing Daniel and Ezekiel. Above them there is another group. Their Greek inscription reads from left to right: "women and kings followed by bishops and patriarchs". The top group below the band to our left features Israelite kings, biblical patriarchs, and other figures from the Old Testament. The patriarch Noah is present, holding the Ark; the patriarch Abraham is standing next to him along with his son Isaac, which holds his sacrifice. The Hebrew prophet Moses is also present, holding the Tablets of Stone. The Jewish prophet Jonah appears with the whale at his feet.

Category:Paintings of Hebrew Bible prophets

Category:Paintings of Michael (archangel)

Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice

Category:Paintings of Book of Daniel people

Category:Eastern Orthodox icons of the Virgin Mary

Category:Paintings of the Sacrifice of Isaac


The Last Judgment (Klontzas)

Prompt: In The Last Judgment (Klontzas), how is the Description discussed?

The painting is egg tempera and gold leaf on wood panel. The dimensions are 127 cm (36.2 in) × 50 cm (18.5 in), it was completed between 1580 and 1608. Around the vertical axis above the river of fire, which ends in Hell, Jesus Christ appears in his Second Coming on Earth as both the Redeemer and judge before humankind; to his left is John the Baptist, and the Virgin Mary is on his right. The apostles and a multitude of angels are also present. The Day of Judgment has arrived. Under Jesus, there are angels on chariots. There are also symbols of the Four Evangelists and people awaiting the hour of Judgment.To the right and left of the cross, a magnificent musical ensemble appears, and four open books are presented by the artist. The books represent the book of life. Both Michelangelo and Fra Angelico feature similar figures. The musical angels are close to the gateway. Adjacent to the lava is the Archangel Michael with a sword guiding the damned into Purgatory. Under the scene is Hell.Klontzas features demons and dragons in several of his works. His demons are painted in superlative detail. His dragons are the common green color. His paintings exhibit the 16th-century interpretation of the historic monsters. A large figure, the Jewish prophet Daniel, is sitting on a rock, he holds a tablet facing the sinners. Below Daniel lies another large figure, which is the Israelite priest Ezekiel. He is in the lower portion facing the resurrection of the dead. They hold plaques with inscriptions referring to Hell. To our bottom left, there is a group of figures, the Greek inscription above them reads: "monks and martyrs". They are facing Daniel and Ezekiel. Above them there is another group. Their Greek inscription reads from left to right: "women and kings followed by bishops and patriarchs". The top group below the band to our left features Israelite kings, biblical patriarchs, and other figures from the Old Testament. The patriarch Noah is present, holding the Ark; the patriarch Abraham is standing next to him along with his son Isaac, which holds his sacrifice. The Hebrew prophet Moses is also present, holding the Tablets of Stone. The Jewish prophet Jonah appears with the whale at his feet.

Category:Paintings of Hebrew Bible prophets

Category:Paintings of Michael (archangel)

Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice

Category:Paintings of Book of Daniel people

Category:Eastern Orthodox icons of the Virgin Mary

Category:Paintings of the Sacrifice of Isaac


Portrait of the Marquise de la Solana

Prompt: Focus on Portrait of the Marquise de la Solana and explain the abstract.

Portrait of the Marquise de la Solana is an oil on canvas full length portrait by Francisco Goya, from 1795. It depicts his friend the Marquise de la Solana. It now hangs in the Louvre, in Paris, to which it was given in 1953 by Carlos de Beistegui.

Category:Paintings by Francisco Goya in the Louvre


Portrait of the Marquise de la Solana

Prompt: Explain the abstract of this artwork, Portrait of the Marquise de la Solana.

Portrait of the Marquise de la Solana is an oil on canvas full length portrait by Francisco Goya, from 1795. It depicts his friend the Marquise de la Solana. It now hangs in the Louvre, in Paris, to which it was given in 1953 by Carlos de Beistegui.

Category:Paintings by Francisco Goya in the Louvre


Portrait of the Marquise de la Solana

Prompt: How does Portrait of the Marquise de la Solana explain its abstract?

Portrait of the Marquise de la Solana is an oil on canvas full length portrait by Francisco Goya, from 1795. It depicts his friend the Marquise de la Solana. It now hangs in the Louvre, in Paris, to which it was given in 1953 by Carlos de Beistegui.

Category:Paintings by Francisco Goya in the Louvre


Portrait of the Marquise de la Solana

Prompt: In Portrait of the Marquise de la Solana, how is the abstract discussed?

Portrait of the Marquise de la Solana is an oil on canvas full length portrait by Francisco Goya, from 1795. It depicts his friend the Marquise de la Solana. It now hangs in the Louvre, in Paris, to which it was given in 1953 by Carlos de Beistegui.

Category:Paintings by Francisco Goya in the Louvre


Portrait of the Marquise de la Solana

Prompt: Focus on Portrait of the Marquise de la Solana and explain the History and description.

The Marquise de Solana was a writer and playwright of the Spanish Enlightenment. She share many liberal ideas with Goya, who was her personal friend. In the 1790s, Goya was already a fashionable painter, whose portraits were in great demand among the upper classes, both the aristocracy and the upper middle class of Madrid. According to the Louvre website, the painting was made when the marquise, aged 38, believed that she was approaching death, because of her illness. She in fact died the same year, in 1795, shortly after the painting was completed. She doesn't seem to be afraid of death, rather seems to be prepared to face her ultimate demise.Rita de Barrenechea is shown in a full body portrait, dressed in a shawl and gauze, wearing a black dress, like anticipating her upcoming death. Her pale face denotes the illness she was suffering, but she still has a proud, dignified appearance. Both her hands and her feet appear crossed. She has a fan in her left hand. The portrait presents her elegance and beauty.The neutral, evanescent background is clearly inspired by the Diego Velázquez tradition, and in the absence of other visual cues, it forces the viewer to stare at the gaze of the marquise, who was close to her death. The painter renders much of her character, seemingly proud and benevolent, as he creates a silent dialogue between the marquise and the viewer.In this painting, it can be noticed the influence of the great English portraitists, like Thomas Gainsborough and Joshua Reynolds, whose work Goya certainly knew through engravings reproductions.

Category:Paintings by Francisco Goya in the Louvre


Portrait of the Marquise de la Solana

Prompt: Explain the History and description of this artwork, Portrait of the Marquise de la Solana.

The Marquise de Solana was a writer and playwright of the Spanish Enlightenment. She share many liberal ideas with Goya, who was her personal friend. In the 1790s, Goya was already a fashionable painter, whose portraits were in great demand among the upper classes, both the aristocracy and the upper middle class of Madrid. According to the Louvre website, the painting was made when the marquise, aged 38, believed that she was approaching death, because of her illness. She in fact died the same year, in 1795, shortly after the painting was completed. She doesn't seem to be afraid of death, rather seems to be prepared to face her ultimate demise.Rita de Barrenechea is shown in a full body portrait, dressed in a shawl and gauze, wearing a black dress, like anticipating her upcoming death. Her pale face denotes the illness she was suffering, but she still has a proud, dignified appearance. Both her hands and her feet appear crossed. She has a fan in her left hand. The portrait presents her elegance and beauty.The neutral, evanescent background is clearly inspired by the Diego Velázquez tradition, and in the absence of other visual cues, it forces the viewer to stare at the gaze of the marquise, who was close to her death. The painter renders much of her character, seemingly proud and benevolent, as he creates a silent dialogue between the marquise and the viewer.In this painting, it can be noticed the influence of the great English portraitists, like Thomas Gainsborough and Joshua Reynolds, whose work Goya certainly knew through engravings reproductions.

Category:Paintings by Francisco Goya in the Louvre


Portrait of the Marquise de la Solana

Prompt: How does Portrait of the Marquise de la Solana explain its History and description?

The Marquise de Solana was a writer and playwright of the Spanish Enlightenment. She share many liberal ideas with Goya, who was her personal friend. In the 1790s, Goya was already a fashionable painter, whose portraits were in great demand among the upper classes, both the aristocracy and the upper middle class of Madrid. According to the Louvre website, the painting was made when the marquise, aged 38, believed that she was approaching death, because of her illness. She in fact died the same year, in 1795, shortly after the painting was completed. She doesn't seem to be afraid of death, rather seems to be prepared to face her ultimate demise.Rita de Barrenechea is shown in a full body portrait, dressed in a shawl and gauze, wearing a black dress, like anticipating her upcoming death. Her pale face denotes the illness she was suffering, but she still has a proud, dignified appearance. Both her hands and her feet appear crossed. She has a fan in her left hand. The portrait presents her elegance and beauty.The neutral, evanescent background is clearly inspired by the Diego Velázquez tradition, and in the absence of other visual cues, it forces the viewer to stare at the gaze of the marquise, who was close to her death. The painter renders much of her character, seemingly proud and benevolent, as he creates a silent dialogue between the marquise and the viewer.In this painting, it can be noticed the influence of the great English portraitists, like Thomas Gainsborough and Joshua Reynolds, whose work Goya certainly knew through engravings reproductions.

Category:Paintings by Francisco Goya in the Louvre


Portrait of the Marquise de la Solana

Prompt: In Portrait of the Marquise de la Solana, how is the History and description discussed?

The Marquise de Solana was a writer and playwright of the Spanish Enlightenment. She share many liberal ideas with Goya, who was her personal friend. In the 1790s, Goya was already a fashionable painter, whose portraits were in great demand among the upper classes, both the aristocracy and the upper middle class of Madrid. According to the Louvre website, the painting was made when the marquise, aged 38, believed that she was approaching death, because of her illness. She in fact died the same year, in 1795, shortly after the painting was completed. She doesn't seem to be afraid of death, rather seems to be prepared to face her ultimate demise.Rita de Barrenechea is shown in a full body portrait, dressed in a shawl and gauze, wearing a black dress, like anticipating her upcoming death. Her pale face denotes the illness she was suffering, but she still has a proud, dignified appearance. Both her hands and her feet appear crossed. She has a fan in her left hand. The portrait presents her elegance and beauty.The neutral, evanescent background is clearly inspired by the Diego Velázquez tradition, and in the absence of other visual cues, it forces the viewer to stare at the gaze of the marquise, who was close to her death. The painter renders much of her character, seemingly proud and benevolent, as he creates a silent dialogue between the marquise and the viewer.In this painting, it can be noticed the influence of the great English portraitists, like Thomas Gainsborough and Joshua Reynolds, whose work Goya certainly knew through engravings reproductions.

Category:Paintings by Francisco Goya in the Louvre


The Green Christ

Prompt: Focus on The Green Christ and explain the abstract.

The Green Christ (in French: Le Christ vert) is an oil on canvas painting executed by Paul Gauguin in the Autumn of 1889 in Pont-Aven, Brittany. Together with The Yellow Christ, it is considered to be one of the key-works of Symbolism in painting. It depicts a Breton woman at the foot of a calvary, or sculpture of Christ's crucifixion. Calvaries are common in town squares in Brittany. The woman appears to be hiding from a pair of figures in the distant background; the green Christ providing her cover from these people. Topographically, the site depicted is the Atlantic coast at Le Pouldu. But the calvary depicted is an amalgam of several calvaries from different places; the cross is based upon that in the centre of Névez, a community close to Pont-Aven, located several miles from the coast, and the figure of Christ is based upon the calvarie at Briec, also at some distance from the sea.

Category:Paintings of the Descent from the Cross

Category:Collection of the Royal Museums of Fine Arts of Belgium


The Green Christ

Prompt: Explain the abstract of this artwork, The Green Christ.

The Green Christ (in French: Le Christ vert) is an oil on canvas painting executed by Paul Gauguin in the Autumn of 1889 in Pont-Aven, Brittany. Together with The Yellow Christ, it is considered to be one of the key-works of Symbolism in painting. It depicts a Breton woman at the foot of a calvary, or sculpture of Christ's crucifixion. Calvaries are common in town squares in Brittany. The woman appears to be hiding from a pair of figures in the distant background; the green Christ providing her cover from these people. Topographically, the site depicted is the Atlantic coast at Le Pouldu. But the calvary depicted is an amalgam of several calvaries from different places; the cross is based upon that in the centre of Névez, a community close to Pont-Aven, located several miles from the coast, and the figure of Christ is based upon the calvarie at Briec, also at some distance from the sea.

Category:Paintings of the Descent from the Cross

Category:Collection of the Royal Museums of Fine Arts of Belgium


The Green Christ

Prompt: How does The Green Christ explain its abstract?

The Green Christ (in French: Le Christ vert) is an oil on canvas painting executed by Paul Gauguin in the Autumn of 1889 in Pont-Aven, Brittany. Together with The Yellow Christ, it is considered to be one of the key-works of Symbolism in painting. It depicts a Breton woman at the foot of a calvary, or sculpture of Christ's crucifixion. Calvaries are common in town squares in Brittany. The woman appears to be hiding from a pair of figures in the distant background; the green Christ providing her cover from these people. Topographically, the site depicted is the Atlantic coast at Le Pouldu. But the calvary depicted is an amalgam of several calvaries from different places; the cross is based upon that in the centre of Névez, a community close to Pont-Aven, located several miles from the coast, and the figure of Christ is based upon the calvarie at Briec, also at some distance from the sea.

Category:Paintings of the Descent from the Cross

Category:Collection of the Royal Museums of Fine Arts of Belgium


The Green Christ

Prompt: In The Green Christ, how is the abstract discussed?

The Green Christ (in French: Le Christ vert) is an oil on canvas painting executed by Paul Gauguin in the Autumn of 1889 in Pont-Aven, Brittany. Together with The Yellow Christ, it is considered to be one of the key-works of Symbolism in painting. It depicts a Breton woman at the foot of a calvary, or sculpture of Christ's crucifixion. Calvaries are common in town squares in Brittany. The woman appears to be hiding from a pair of figures in the distant background; the green Christ providing her cover from these people. Topographically, the site depicted is the Atlantic coast at Le Pouldu. But the calvary depicted is an amalgam of several calvaries from different places; the cross is based upon that in the centre of Névez, a community close to Pont-Aven, located several miles from the coast, and the figure of Christ is based upon the calvarie at Briec, also at some distance from the sea.

Category:Paintings of the Descent from the Cross

Category:Collection of the Royal Museums of Fine Arts of Belgium


Altar frontal from Avià

Prompt: Focus on Altar frontal from Avià and explain the abstract.

The Altar frontal from Avià is a rare Romanesque altar frontal exhibited at the National Art Museum of Catalonia in Barcelona. It is the front of the altar of the church of St. Mary of Avià, in the county of Berguedà, later moved to MNAC Barcelona, while the church has a replica in place. It is dated to the 13th century or earlier, and was painted by an unknown artist.The frontal is painted in tempera on a wood panel, with parchment overlaps, pastiglia stucco relief decoration and remains of additional vanished metal plates. It is divided into five areas, dominated by the central Virgin and Child. The figures are elongated, with Byzantine-style costumes and  frontal poses. Four scenes surround the central figures: the Annunciation and Visitation, Nativity, the Epiphany and the Presentation of Jesus in the temple. Both the frame and the divisions between the compartments are decorated with gilded  gypsum plaster, imitating precious metal.

Category:Paintings in the Museu Nacional d'Art de Catalunya

Category:Paintings of the Madonna and Child


Altar frontal from Avià

Prompt: Explain the abstract of this artwork, Altar frontal from Avià.

The Altar frontal from Avià is a rare Romanesque altar frontal exhibited at the National Art Museum of Catalonia in Barcelona. It is the front of the altar of the church of St. Mary of Avià, in the county of Berguedà, later moved to MNAC Barcelona, while the church has a replica in place. It is dated to the 13th century or earlier, and was painted by an unknown artist.The frontal is painted in tempera on a wood panel, with parchment overlaps, pastiglia stucco relief decoration and remains of additional vanished metal plates. It is divided into five areas, dominated by the central Virgin and Child. The figures are elongated, with Byzantine-style costumes and  frontal poses. Four scenes surround the central figures: the Annunciation and Visitation, Nativity, the Epiphany and the Presentation of Jesus in the temple. Both the frame and the divisions between the compartments are decorated with gilded  gypsum plaster, imitating precious metal.

Category:Paintings in the Museu Nacional d'Art de Catalunya

Category:Paintings of the Madonna and Child


Altar frontal from Avià

Prompt: How does Altar frontal from Avià explain its abstract?

The Altar frontal from Avià is a rare Romanesque altar frontal exhibited at the National Art Museum of Catalonia in Barcelona. It is the front of the altar of the church of St. Mary of Avià, in the county of Berguedà, later moved to MNAC Barcelona, while the church has a replica in place. It is dated to the 13th century or earlier, and was painted by an unknown artist.The frontal is painted in tempera on a wood panel, with parchment overlaps, pastiglia stucco relief decoration and remains of additional vanished metal plates. It is divided into five areas, dominated by the central Virgin and Child. The figures are elongated, with Byzantine-style costumes and  frontal poses. Four scenes surround the central figures: the Annunciation and Visitation, Nativity, the Epiphany and the Presentation of Jesus in the temple. Both the frame and the divisions between the compartments are decorated with gilded  gypsum plaster, imitating precious metal.

Category:Paintings in the Museu Nacional d'Art de Catalunya

Category:Paintings of the Madonna and Child


Altar frontal from Avià

Prompt: In Altar frontal from Avià, how is the abstract discussed?

The Altar frontal from Avià is a rare Romanesque altar frontal exhibited at the National Art Museum of Catalonia in Barcelona. It is the front of the altar of the church of St. Mary of Avià, in the county of Berguedà, later moved to MNAC Barcelona, while the church has a replica in place. It is dated to the 13th century or earlier, and was painted by an unknown artist.The frontal is painted in tempera on a wood panel, with parchment overlaps, pastiglia stucco relief decoration and remains of additional vanished metal plates. It is divided into five areas, dominated by the central Virgin and Child. The figures are elongated, with Byzantine-style costumes and  frontal poses. Four scenes surround the central figures: the Annunciation and Visitation, Nativity, the Epiphany and the Presentation of Jesus in the temple. Both the frame and the divisions between the compartments are decorated with gilded  gypsum plaster, imitating precious metal.

Category:Paintings in the Museu Nacional d'Art de Catalunya

Category:Paintings of the Madonna and Child


Lamentation of Christ (van der Weyden)

Prompt: Focus on Lamentation of Christ (van der Weyden) and explain the abstract.

The Lamentation of Christ is an oil-on-panel painting of the common subject of the Lamentation of Christ by the Netherlandish artist Rogier van der Weyden, dating from around 1460–1463 and now in the Uffizi Gallery, Florence, Italy.

Category:Paintings of the Entombment of Christ

Category:Paintings by Rogier van der Weyden

Category:Paintings of the Lamentation of Christ


Lamentation of Christ (van der Weyden)

Prompt: Explain the abstract of this artwork, Lamentation of Christ (van der Weyden).

The Lamentation of Christ is an oil-on-panel painting of the common subject of the Lamentation of Christ by the Netherlandish artist Rogier van der Weyden, dating from around 1460–1463 and now in the Uffizi Gallery, Florence, Italy.

Category:Paintings of the Entombment of Christ

Category:Paintings by Rogier van der Weyden

Category:Paintings of the Lamentation of Christ


Lamentation of Christ (van der Weyden)

Prompt: How does Lamentation of Christ (van der Weyden) explain its abstract?

The Lamentation of Christ is an oil-on-panel painting of the common subject of the Lamentation of Christ by the Netherlandish artist Rogier van der Weyden, dating from around 1460–1463 and now in the Uffizi Gallery, Florence, Italy.

Category:Paintings of the Entombment of Christ

Category:Paintings by Rogier van der Weyden

Category:Paintings of the Lamentation of Christ


Lamentation of Christ (van der Weyden)

Prompt: In Lamentation of Christ (van der Weyden), how is the abstract discussed?

The Lamentation of Christ is an oil-on-panel painting of the common subject of the Lamentation of Christ by the Netherlandish artist Rogier van der Weyden, dating from around 1460–1463 and now in the Uffizi Gallery, Florence, Italy.

Category:Paintings of the Entombment of Christ

Category:Paintings by Rogier van der Weyden

Category:Paintings of the Lamentation of Christ


Lamentation of Christ (van der Weyden)

Prompt: Focus on Lamentation of Christ (van der Weyden) and explain the History.

The work is perhaps the "altarpiece [with] Our Lord's sepulchre [...] and other five figures" which appear in the inventory made in 1492 at the death of  Lorenzo de' Medici, and which decorated his Villa at Careggi since as early as 1482. The panel was thus one of the works commissioned by the Medici to van der Weyden, including the Medici Madonna now at  Städel of Frankfurt, which has been also assigned to the artist's trip to Italy in 1450. Another hypothesis is that the panel was part of a lost triptych painted for  Lionello d'Este of Ferrara, and mentioned in 1449, or that it was the painting described by Giorgio Vasari as Hans Memling's.The panel adopts the same scheme in Fra Angelico's Pietà for the predella of the San Marco Altarpiece (1438–1443), now at the Alte Pinakothek, Munich, confirming that the Flemish artist visited Florence during his pilgrimage in Italy of  1449–1450, as mentioned in De viribus illustribus by Bartolomeo Facio (c. 1456). The work was later part of the collections of cardinal  Carlo de' Medici, being moved to the Uffizi Gallery in 1666.  Filippo Baldinucci described it as a work by Albrecht Dürer. In 1989 it was still assigned to Hans Memling by some scholars, but in 1992 reflex photography showed the underlying drawing, which was clearly executed by van der Weyden.

Category:Paintings of the Entombment of Christ

Category:Paintings by Rogier van der Weyden

Category:Paintings of the Lamentation of Christ


Lamentation of Christ (van der Weyden)

Prompt: Explain the History of this artwork, Lamentation of Christ (van der Weyden).

The work is perhaps the "altarpiece [with] Our Lord's sepulchre [...] and other five figures" which appear in the inventory made in 1492 at the death of  Lorenzo de' Medici, and which decorated his Villa at Careggi since as early as 1482. The panel was thus one of the works commissioned by the Medici to van der Weyden, including the Medici Madonna now at  Städel of Frankfurt, which has been also assigned to the artist's trip to Italy in 1450. Another hypothesis is that the panel was part of a lost triptych painted for  Lionello d'Este of Ferrara, and mentioned in 1449, or that it was the painting described by Giorgio Vasari as Hans Memling's.The panel adopts the same scheme in Fra Angelico's Pietà for the predella of the San Marco Altarpiece (1438–1443), now at the Alte Pinakothek, Munich, confirming that the Flemish artist visited Florence during his pilgrimage in Italy of  1449–1450, as mentioned in De viribus illustribus by Bartolomeo Facio (c. 1456). The work was later part of the collections of cardinal  Carlo de' Medici, being moved to the Uffizi Gallery in 1666.  Filippo Baldinucci described it as a work by Albrecht Dürer. In 1989 it was still assigned to Hans Memling by some scholars, but in 1992 reflex photography showed the underlying drawing, which was clearly executed by van der Weyden.

Category:Paintings of the Entombment of Christ

Category:Paintings by Rogier van der Weyden

Category:Paintings of the Lamentation of Christ