Pietà (Meštrović)

Prompt: Focus on Pietà (Meštrović) and explain the History.

In the early twentieth century, Meštrović was one of the prominent artists in Croatia and Yugoslavia. He was living in Split during the April War in 1941, when Yugoslavia was invaded by the Axis powers and Croatia became a puppet state of Nazi Germany, the Independent State of Croatia (NDH). After being warned by novelist and NDH minister Mile Budak that the authorities could not guarantee his safety in Split, he moved to Zagreb in September 1941. The Croatian fascist Ustaše, allies of the Nazi in occupied Croatia, arrested Meštrović and painter Jozo Kljaković on 7 November 1941, ostensibly due to the regime's fears that the two would emigrate. Meštrović had refused to cooperate with fascist authorities and had refused an invitation to Berlin in 1930 from Adolf Hitler, who hence considered him an enemy.: 58  While in the Savska Cesta prison in Zagerb, he started conceptualizing the statue of the Pietà.: 38  He obtained some brown wrapping paper from some prison guards and made sketches of the planned statue. He was released from prison five months later thanks to the mediation of the Vatican and Catholic authorities. One of the conditions of his release was his participation at the 1942 Venice Biennale, when he represented the Independent State of Croatia. He then moved to Rome where he stayed at the Pontifical Croatian College of St. Jerome and sculpted a clay model for the Pietà. In 1943 he went to Switzerland and returned to Rome in 1946, where he carved the 11.2 feet tall Pietà from a six ton piece of Carrara marble. He also produced a bronze copy of the statue, which today is kept in the Vatican museums.: 58 In 1946, Meštrović moved to the United States, in a self-imposed exile from his home and Yugoslavia, whose Communist policies he rejected. He accepted a professor position at Syracuse University. One of the works he brought to America was the marble Pietà. The sculpture was exhibited at the Metropolitan Museum of Art from April 10, 1947 to 1955, as part of an exhibition on Meštrović, the museum's first ever solo exhibition of a living artist.: 58  In 1949, the Montenegrin politician Milovan Đilas was sent to New York by Josip Broz Tito to meet with Meštrović and try to persuade him to return to Yugoslavia. He offered him, among other things, that the state buy the sculpture for 150,000 dollars and place it in a museum, which Meštrović refused because it was a sculpture with an intimate and religious theme, and the government at that time was against religion. Throughout his life, Tito tried to persuade Meštrović to return home, but Meštrović disliked communism as much as he had disliked fascism, and chose to remain in exile.: 59 As seen in his later correspondence with Svetozar Rittig, Meštrović's condition was that the statue be placed in the Zagreb Cathedral.Instead, the artwork went to the University of Notre Dame. In November 1955 the Pietà was transported to Notre Dame after being polished and cleaned. It was transported from New York to South Bend on an open trailer-truck, with the statue in full view of the other drivers, who reportedly doubled in their track to better view it. Bridges and underpasses on the route were checked in advance for their weight-bearing and size to allow for safe transportation of the large sculpture. In order to host the statue, the floor of the Sacred Heart Church was reinforced with steel and concrete and a pedestal built. The placement of the work in a church fulfilled Meštrović's wish of seeing the Pietà  installed in a religious setting.

Detail of the faces of Nicodemus and Jesus

File:Mestrovic Pieta, face detail - brighter.jpg

Collection of Modern and Contemporary Art, Vatican Museums

Basilica of the Sacred Heart (Notre Dame)

Pieta in its location in the side chapel in the Basilica of the Sacred Heart

File:Basilica of the Sacred Heart (Notre Dame, Indiana) - interior, the Ivan Mestrovic Pieta (1942) made of Carara marble.jpg


Pietà (Meštrović)

Prompt: Explain the History of this artwork, Pietà (Meštrović).

In the early twentieth century, Meštrović was one of the prominent artists in Croatia and Yugoslavia. He was living in Split during the April War in 1941, when Yugoslavia was invaded by the Axis powers and Croatia became a puppet state of Nazi Germany, the Independent State of Croatia (NDH). After being warned by novelist and NDH minister Mile Budak that the authorities could not guarantee his safety in Split, he moved to Zagreb in September 1941. The Croatian fascist Ustaše, allies of the Nazi in occupied Croatia, arrested Meštrović and painter Jozo Kljaković on 7 November 1941, ostensibly due to the regime's fears that the two would emigrate. Meštrović had refused to cooperate with fascist authorities and had refused an invitation to Berlin in 1930 from Adolf Hitler, who hence considered him an enemy.: 58  While in the Savska Cesta prison in Zagerb, he started conceptualizing the statue of the Pietà.: 38  He obtained some brown wrapping paper from some prison guards and made sketches of the planned statue. He was released from prison five months later thanks to the mediation of the Vatican and Catholic authorities. One of the conditions of his release was his participation at the 1942 Venice Biennale, when he represented the Independent State of Croatia. He then moved to Rome where he stayed at the Pontifical Croatian College of St. Jerome and sculpted a clay model for the Pietà. In 1943 he went to Switzerland and returned to Rome in 1946, where he carved the 11.2 feet tall Pietà from a six ton piece of Carrara marble. He also produced a bronze copy of the statue, which today is kept in the Vatican museums.: 58 In 1946, Meštrović moved to the United States, in a self-imposed exile from his home and Yugoslavia, whose Communist policies he rejected. He accepted a professor position at Syracuse University. One of the works he brought to America was the marble Pietà. The sculpture was exhibited at the Metropolitan Museum of Art from April 10, 1947 to 1955, as part of an exhibition on Meštrović, the museum's first ever solo exhibition of a living artist.: 58  In 1949, the Montenegrin politician Milovan Đilas was sent to New York by Josip Broz Tito to meet with Meštrović and try to persuade him to return to Yugoslavia. He offered him, among other things, that the state buy the sculpture for 150,000 dollars and place it in a museum, which Meštrović refused because it was a sculpture with an intimate and religious theme, and the government at that time was against religion. Throughout his life, Tito tried to persuade Meštrović to return home, but Meštrović disliked communism as much as he had disliked fascism, and chose to remain in exile.: 59 As seen in his later correspondence with Svetozar Rittig, Meštrović's condition was that the statue be placed in the Zagreb Cathedral.Instead, the artwork went to the University of Notre Dame. In November 1955 the Pietà was transported to Notre Dame after being polished and cleaned. It was transported from New York to South Bend on an open trailer-truck, with the statue in full view of the other drivers, who reportedly doubled in their track to better view it. Bridges and underpasses on the route were checked in advance for their weight-bearing and size to allow for safe transportation of the large sculpture. In order to host the statue, the floor of the Sacred Heart Church was reinforced with steel and concrete and a pedestal built. The placement of the work in a church fulfilled Meštrović's wish of seeing the Pietà  installed in a religious setting.

Detail of the faces of Nicodemus and Jesus

File:Mestrovic Pieta, face detail - brighter.jpg

Collection of Modern and Contemporary Art, Vatican Museums

Basilica of the Sacred Heart (Notre Dame)

Pieta in its location in the side chapel in the Basilica of the Sacred Heart

File:Basilica of the Sacred Heart (Notre Dame, Indiana) - interior, the Ivan Mestrovic Pieta (1942) made of Carara marble.jpg


Pietà (Meštrović)

Prompt: How does Pietà (Meštrović) explain its History?

In the early twentieth century, Meštrović was one of the prominent artists in Croatia and Yugoslavia. He was living in Split during the April War in 1941, when Yugoslavia was invaded by the Axis powers and Croatia became a puppet state of Nazi Germany, the Independent State of Croatia (NDH). After being warned by novelist and NDH minister Mile Budak that the authorities could not guarantee his safety in Split, he moved to Zagreb in September 1941. The Croatian fascist Ustaše, allies of the Nazi in occupied Croatia, arrested Meštrović and painter Jozo Kljaković on 7 November 1941, ostensibly due to the regime's fears that the two would emigrate. Meštrović had refused to cooperate with fascist authorities and had refused an invitation to Berlin in 1930 from Adolf Hitler, who hence considered him an enemy.: 58  While in the Savska Cesta prison in Zagerb, he started conceptualizing the statue of the Pietà.: 38  He obtained some brown wrapping paper from some prison guards and made sketches of the planned statue. He was released from prison five months later thanks to the mediation of the Vatican and Catholic authorities. One of the conditions of his release was his participation at the 1942 Venice Biennale, when he represented the Independent State of Croatia. He then moved to Rome where he stayed at the Pontifical Croatian College of St. Jerome and sculpted a clay model for the Pietà. In 1943 he went to Switzerland and returned to Rome in 1946, where he carved the 11.2 feet tall Pietà from a six ton piece of Carrara marble. He also produced a bronze copy of the statue, which today is kept in the Vatican museums.: 58 In 1946, Meštrović moved to the United States, in a self-imposed exile from his home and Yugoslavia, whose Communist policies he rejected. He accepted a professor position at Syracuse University. One of the works he brought to America was the marble Pietà. The sculpture was exhibited at the Metropolitan Museum of Art from April 10, 1947 to 1955, as part of an exhibition on Meštrović, the museum's first ever solo exhibition of a living artist.: 58  In 1949, the Montenegrin politician Milovan Đilas was sent to New York by Josip Broz Tito to meet with Meštrović and try to persuade him to return to Yugoslavia. He offered him, among other things, that the state buy the sculpture for 150,000 dollars and place it in a museum, which Meštrović refused because it was a sculpture with an intimate and religious theme, and the government at that time was against religion. Throughout his life, Tito tried to persuade Meštrović to return home, but Meštrović disliked communism as much as he had disliked fascism, and chose to remain in exile.: 59 As seen in his later correspondence with Svetozar Rittig, Meštrović's condition was that the statue be placed in the Zagreb Cathedral.Instead, the artwork went to the University of Notre Dame. In November 1955 the Pietà was transported to Notre Dame after being polished and cleaned. It was transported from New York to South Bend on an open trailer-truck, with the statue in full view of the other drivers, who reportedly doubled in their track to better view it. Bridges and underpasses on the route were checked in advance for their weight-bearing and size to allow for safe transportation of the large sculpture. In order to host the statue, the floor of the Sacred Heart Church was reinforced with steel and concrete and a pedestal built. The placement of the work in a church fulfilled Meštrović's wish of seeing the Pietà  installed in a religious setting.

Detail of the faces of Nicodemus and Jesus

File:Mestrovic Pieta, face detail - brighter.jpg

Collection of Modern and Contemporary Art, Vatican Museums

Basilica of the Sacred Heart (Notre Dame)

Pieta in its location in the side chapel in the Basilica of the Sacred Heart

File:Basilica of the Sacred Heart (Notre Dame, Indiana) - interior, the Ivan Mestrovic Pieta (1942) made of Carara marble.jpg


Pietà (Meštrović)

Prompt: In Pietà (Meštrović), how is the History discussed?

In the early twentieth century, Meštrović was one of the prominent artists in Croatia and Yugoslavia. He was living in Split during the April War in 1941, when Yugoslavia was invaded by the Axis powers and Croatia became a puppet state of Nazi Germany, the Independent State of Croatia (NDH). After being warned by novelist and NDH minister Mile Budak that the authorities could not guarantee his safety in Split, he moved to Zagreb in September 1941. The Croatian fascist Ustaše, allies of the Nazi in occupied Croatia, arrested Meštrović and painter Jozo Kljaković on 7 November 1941, ostensibly due to the regime's fears that the two would emigrate. Meštrović had refused to cooperate with fascist authorities and had refused an invitation to Berlin in 1930 from Adolf Hitler, who hence considered him an enemy.: 58  While in the Savska Cesta prison in Zagerb, he started conceptualizing the statue of the Pietà.: 38  He obtained some brown wrapping paper from some prison guards and made sketches of the planned statue. He was released from prison five months later thanks to the mediation of the Vatican and Catholic authorities. One of the conditions of his release was his participation at the 1942 Venice Biennale, when he represented the Independent State of Croatia. He then moved to Rome where he stayed at the Pontifical Croatian College of St. Jerome and sculpted a clay model for the Pietà. In 1943 he went to Switzerland and returned to Rome in 1946, where he carved the 11.2 feet tall Pietà from a six ton piece of Carrara marble. He also produced a bronze copy of the statue, which today is kept in the Vatican museums.: 58 In 1946, Meštrović moved to the United States, in a self-imposed exile from his home and Yugoslavia, whose Communist policies he rejected. He accepted a professor position at Syracuse University. One of the works he brought to America was the marble Pietà. The sculpture was exhibited at the Metropolitan Museum of Art from April 10, 1947 to 1955, as part of an exhibition on Meštrović, the museum's first ever solo exhibition of a living artist.: 58  In 1949, the Montenegrin politician Milovan Đilas was sent to New York by Josip Broz Tito to meet with Meštrović and try to persuade him to return to Yugoslavia. He offered him, among other things, that the state buy the sculpture for 150,000 dollars and place it in a museum, which Meštrović refused because it was a sculpture with an intimate and religious theme, and the government at that time was against religion. Throughout his life, Tito tried to persuade Meštrović to return home, but Meštrović disliked communism as much as he had disliked fascism, and chose to remain in exile.: 59 As seen in his later correspondence with Svetozar Rittig, Meštrović's condition was that the statue be placed in the Zagreb Cathedral.Instead, the artwork went to the University of Notre Dame. In November 1955 the Pietà was transported to Notre Dame after being polished and cleaned. It was transported from New York to South Bend on an open trailer-truck, with the statue in full view of the other drivers, who reportedly doubled in their track to better view it. Bridges and underpasses on the route were checked in advance for their weight-bearing and size to allow for safe transportation of the large sculpture. In order to host the statue, the floor of the Sacred Heart Church was reinforced with steel and concrete and a pedestal built. The placement of the work in a church fulfilled Meštrović's wish of seeing the Pietà  installed in a religious setting.

Detail of the faces of Nicodemus and Jesus

File:Mestrovic Pieta, face detail - brighter.jpg

Collection of Modern and Contemporary Art, Vatican Museums

Basilica of the Sacred Heart (Notre Dame)

Pieta in its location in the side chapel in the Basilica of the Sacred Heart

File:Basilica of the Sacred Heart (Notre Dame, Indiana) - interior, the Ivan Mestrovic Pieta (1942) made of Carara marble.jpg


Pietà (Meštrović)

Prompt: In the context of Pietà (Meštrović), explain the Copies and the History.

There are several versions and copies of the work. All copies are in different materials, according to the will of Meštrović. A plaster copy is found at the Ivan Meštrović Gallery in Split along with bronze castings of the heads of Jesus, Mary, and Mary Magdalene from the sculpture. This copy in Split is owned by the Meštrović' heir, who sold it in 2023 for 2.3 million kruna. A bronze copy was cast at the Fonderia Artistica Bruni foundry with dimensions of 245 x 132 x 107 cm and was donated on November 21, 1973 to the Collection of Modern and Contemporary Art, Vatican Museums.: 659  A 1960 plaster model of the statue is found in the sacristy of the Pontifical Croatian College of St. Jerome.

Detail of the faces of Nicodemus and Jesus

File:Mestrovic Pieta, face detail - brighter.jpg

Basilica of the Sacred Heart (Notre Dame)

Pieta in its location in the side chapel in the Basilica of the Sacred Heart

File:Basilica of the Sacred Heart (Notre Dame, Indiana) - interior, the Ivan Mestrovic Pieta (1942) made of Carara marble.jpg


Pietà (Meštrović)

Prompt: Explain the Copies about the History of this artwork, Pietà (Meštrović).

There are several versions and copies of the work. All copies are in different materials, according to the will of Meštrović. A plaster copy is found at the Ivan Meštrović Gallery in Split along with bronze castings of the heads of Jesus, Mary, and Mary Magdalene from the sculpture. This copy in Split is owned by the Meštrović' heir, who sold it in 2023 for 2.3 million kruna. A bronze copy was cast at the Fonderia Artistica Bruni foundry with dimensions of 245 x 132 x 107 cm and was donated on November 21, 1973 to the Collection of Modern and Contemporary Art, Vatican Museums.: 659  A 1960 plaster model of the statue is found in the sacristy of the Pontifical Croatian College of St. Jerome.

Detail of the faces of Nicodemus and Jesus

File:Mestrovic Pieta, face detail - brighter.jpg

Basilica of the Sacred Heart (Notre Dame)

Pieta in its location in the side chapel in the Basilica of the Sacred Heart

File:Basilica of the Sacred Heart (Notre Dame, Indiana) - interior, the Ivan Mestrovic Pieta (1942) made of Carara marble.jpg


Pietà (Meštrović)

Prompt: In Pietà (Meštrović), how is the Copies of the History explained?

There are several versions and copies of the work. All copies are in different materials, according to the will of Meštrović. A plaster copy is found at the Ivan Meštrović Gallery in Split along with bronze castings of the heads of Jesus, Mary, and Mary Magdalene from the sculpture. This copy in Split is owned by the Meštrović' heir, who sold it in 2023 for 2.3 million kruna. A bronze copy was cast at the Fonderia Artistica Bruni foundry with dimensions of 245 x 132 x 107 cm and was donated on November 21, 1973 to the Collection of Modern and Contemporary Art, Vatican Museums.: 659  A 1960 plaster model of the statue is found in the sacristy of the Pontifical Croatian College of St. Jerome.

Detail of the faces of Nicodemus and Jesus

File:Mestrovic Pieta, face detail - brighter.jpg

Basilica of the Sacred Heart (Notre Dame)

Pieta in its location in the side chapel in the Basilica of the Sacred Heart

File:Basilica of the Sacred Heart (Notre Dame, Indiana) - interior, the Ivan Mestrovic Pieta (1942) made of Carara marble.jpg


Pietà (Meštrović)

Prompt: Describe the characteristics of the Copies in Pietà (Meštrović)'s History.

There are several versions and copies of the work. All copies are in different materials, according to the will of Meštrović. A plaster copy is found at the Ivan Meštrović Gallery in Split along with bronze castings of the heads of Jesus, Mary, and Mary Magdalene from the sculpture. This copy in Split is owned by the Meštrović' heir, who sold it in 2023 for 2.3 million kruna. A bronze copy was cast at the Fonderia Artistica Bruni foundry with dimensions of 245 x 132 x 107 cm and was donated on November 21, 1973 to the Collection of Modern and Contemporary Art, Vatican Museums.: 659  A 1960 plaster model of the statue is found in the sacristy of the Pontifical Croatian College of St. Jerome.

Detail of the faces of Nicodemus and Jesus

File:Mestrovic Pieta, face detail - brighter.jpg

Basilica of the Sacred Heart (Notre Dame)

Pieta in its location in the side chapel in the Basilica of the Sacred Heart

File:Basilica of the Sacred Heart (Notre Dame, Indiana) - interior, the Ivan Mestrovic Pieta (1942) made of Carara marble.jpg


Pietà (Meštrović)

Prompt: Focus on Pietà (Meštrović) and explain the Analysis.

The work is intended to represents the suffering of all of humanity.: 58  Meštrović recapitulated his own tragic experience of captivity, as well as the suffering that he, his family and humanity endured in the whirlwind of war. In particular, the grief of a mother for her dead son symbolizes the human suffering of World War II.: 58  All three figures are presented in common lamentation but at the same time also in  personal inner grief at contemplating the death of the living God.: 58  The Pieta, together with his work Job at Syracuse University, is connected to the theme of human suffering that he pondered while in prison and is considered one of his best, if not the best, works in his late career.: 20–21 Meštrović used a style of deliberate linear design, with the texture of the marble made rough for clothes while smooth for skin, a technique used for many of his other works.: 32  The figure of Nicodemus bares the facial figures of Meštrović himself, an example of artistic self-insertion.: 38  This technique was used by many artists of the past including Michelangelo, who Meštrović greatly admired.: 38  The facial figure of his wife Olga are instead found in those of Mary and Magdalene.The sculpture is inspired by Michelangelo’s Florentine Pietà, of which it reproduces the composition, with the figures of Nicodemus, Mary Magdalene and Mary found in a zigzagging fashion in a pyramidal arrangement. The pathos of Meštrović's work is very different from that of Michelangelo, with the figures exhibiting deep, physical and psychological suffering while Michelangelo's work showed more serene and sorrow. The dramatic emotions are heightened by the sharp angels and the contrast between the lifeless, naked, and limp body of Jesus with the other figures, who are fully clothed, tense, and immersed in intense anguish.: 58 The New York Times defined it "marvelous organization, design, and rhythm". According to Susan Brabant Baxter, the sculpture reflects Rudolf von Laban's theory of gathering and scattering, with the figure of Jesus scattering vitality and life, while the other figures gather him for burial. In the early twentieth century, Meštrović was one of the few artists to tackle religious themes and receive appreciation both from art critics and religious faithful alike.

Pontifical Croatian College of St. Jerome

Detail of the faces of Nicodemus and Jesus

File:Mestrovic Pieta, face detail - brighter.jpg

Collection of Modern and Contemporary Art, Vatican Museums

Basilica of the Sacred Heart (Notre Dame)

Pieta in its location in the side chapel in the Basilica of the Sacred Heart

File:Basilica of the Sacred Heart (Notre Dame, Indiana) - interior, the Ivan Mestrovic Pieta (1942) made of Carara marble.jpg


Pietà (Meštrović)

Prompt: Explain the Analysis of this artwork, Pietà (Meštrović).

The work is intended to represents the suffering of all of humanity.: 58  Meštrović recapitulated his own tragic experience of captivity, as well as the suffering that he, his family and humanity endured in the whirlwind of war. In particular, the grief of a mother for her dead son symbolizes the human suffering of World War II.: 58  All three figures are presented in common lamentation but at the same time also in  personal inner grief at contemplating the death of the living God.: 58  The Pieta, together with his work Job at Syracuse University, is connected to the theme of human suffering that he pondered while in prison and is considered one of his best, if not the best, works in his late career.: 20–21 Meštrović used a style of deliberate linear design, with the texture of the marble made rough for clothes while smooth for skin, a technique used for many of his other works.: 32  The figure of Nicodemus bares the facial figures of Meštrović himself, an example of artistic self-insertion.: 38  This technique was used by many artists of the past including Michelangelo, who Meštrović greatly admired.: 38  The facial figure of his wife Olga are instead found in those of Mary and Magdalene.The sculpture is inspired by Michelangelo’s Florentine Pietà, of which it reproduces the composition, with the figures of Nicodemus, Mary Magdalene and Mary found in a zigzagging fashion in a pyramidal arrangement. The pathos of Meštrović's work is very different from that of Michelangelo, with the figures exhibiting deep, physical and psychological suffering while Michelangelo's work showed more serene and sorrow. The dramatic emotions are heightened by the sharp angels and the contrast between the lifeless, naked, and limp body of Jesus with the other figures, who are fully clothed, tense, and immersed in intense anguish.: 58 The New York Times defined it "marvelous organization, design, and rhythm". According to Susan Brabant Baxter, the sculpture reflects Rudolf von Laban's theory of gathering and scattering, with the figure of Jesus scattering vitality and life, while the other figures gather him for burial. In the early twentieth century, Meštrović was one of the few artists to tackle religious themes and receive appreciation both from art critics and religious faithful alike.

Pontifical Croatian College of St. Jerome

Detail of the faces of Nicodemus and Jesus

File:Mestrovic Pieta, face detail - brighter.jpg

Collection of Modern and Contemporary Art, Vatican Museums

Basilica of the Sacred Heart (Notre Dame)

Pieta in its location in the side chapel in the Basilica of the Sacred Heart

File:Basilica of the Sacred Heart (Notre Dame, Indiana) - interior, the Ivan Mestrovic Pieta (1942) made of Carara marble.jpg


Pietà (Meštrović)

Prompt: How does Pietà (Meštrović) explain its Analysis?

The work is intended to represents the suffering of all of humanity.: 58  Meštrović recapitulated his own tragic experience of captivity, as well as the suffering that he, his family and humanity endured in the whirlwind of war. In particular, the grief of a mother for her dead son symbolizes the human suffering of World War II.: 58  All three figures are presented in common lamentation but at the same time also in  personal inner grief at contemplating the death of the living God.: 58  The Pieta, together with his work Job at Syracuse University, is connected to the theme of human suffering that he pondered while in prison and is considered one of his best, if not the best, works in his late career.: 20–21 Meštrović used a style of deliberate linear design, with the texture of the marble made rough for clothes while smooth for skin, a technique used for many of his other works.: 32  The figure of Nicodemus bares the facial figures of Meštrović himself, an example of artistic self-insertion.: 38  This technique was used by many artists of the past including Michelangelo, who Meštrović greatly admired.: 38  The facial figure of his wife Olga are instead found in those of Mary and Magdalene.The sculpture is inspired by Michelangelo’s Florentine Pietà, of which it reproduces the composition, with the figures of Nicodemus, Mary Magdalene and Mary found in a zigzagging fashion in a pyramidal arrangement. The pathos of Meštrović's work is very different from that of Michelangelo, with the figures exhibiting deep, physical and psychological suffering while Michelangelo's work showed more serene and sorrow. The dramatic emotions are heightened by the sharp angels and the contrast between the lifeless, naked, and limp body of Jesus with the other figures, who are fully clothed, tense, and immersed in intense anguish.: 58 The New York Times defined it "marvelous organization, design, and rhythm". According to Susan Brabant Baxter, the sculpture reflects Rudolf von Laban's theory of gathering and scattering, with the figure of Jesus scattering vitality and life, while the other figures gather him for burial. In the early twentieth century, Meštrović was one of the few artists to tackle religious themes and receive appreciation both from art critics and religious faithful alike.

Pontifical Croatian College of St. Jerome

Detail of the faces of Nicodemus and Jesus

File:Mestrovic Pieta, face detail - brighter.jpg

Collection of Modern and Contemporary Art, Vatican Museums

Basilica of the Sacred Heart (Notre Dame)

Pieta in its location in the side chapel in the Basilica of the Sacred Heart

File:Basilica of the Sacred Heart (Notre Dame, Indiana) - interior, the Ivan Mestrovic Pieta (1942) made of Carara marble.jpg


Pietà (Meštrović)

Prompt: In Pietà (Meštrović), how is the Analysis discussed?

The work is intended to represents the suffering of all of humanity.: 58  Meštrović recapitulated his own tragic experience of captivity, as well as the suffering that he, his family and humanity endured in the whirlwind of war. In particular, the grief of a mother for her dead son symbolizes the human suffering of World War II.: 58  All three figures are presented in common lamentation but at the same time also in  personal inner grief at contemplating the death of the living God.: 58  The Pieta, together with his work Job at Syracuse University, is connected to the theme of human suffering that he pondered while in prison and is considered one of his best, if not the best, works in his late career.: 20–21 Meštrović used a style of deliberate linear design, with the texture of the marble made rough for clothes while smooth for skin, a technique used for many of his other works.: 32  The figure of Nicodemus bares the facial figures of Meštrović himself, an example of artistic self-insertion.: 38  This technique was used by many artists of the past including Michelangelo, who Meštrović greatly admired.: 38  The facial figure of his wife Olga are instead found in those of Mary and Magdalene.The sculpture is inspired by Michelangelo’s Florentine Pietà, of which it reproduces the composition, with the figures of Nicodemus, Mary Magdalene and Mary found in a zigzagging fashion in a pyramidal arrangement. The pathos of Meštrović's work is very different from that of Michelangelo, with the figures exhibiting deep, physical and psychological suffering while Michelangelo's work showed more serene and sorrow. The dramatic emotions are heightened by the sharp angels and the contrast between the lifeless, naked, and limp body of Jesus with the other figures, who are fully clothed, tense, and immersed in intense anguish.: 58 The New York Times defined it "marvelous organization, design, and rhythm". According to Susan Brabant Baxter, the sculpture reflects Rudolf von Laban's theory of gathering and scattering, with the figure of Jesus scattering vitality and life, while the other figures gather him for burial. In the early twentieth century, Meštrović was one of the few artists to tackle religious themes and receive appreciation both from art critics and religious faithful alike.

Pontifical Croatian College of St. Jerome

Detail of the faces of Nicodemus and Jesus

File:Mestrovic Pieta, face detail - brighter.jpg

Collection of Modern and Contemporary Art, Vatican Museums

Basilica of the Sacred Heart (Notre Dame)

Pieta in its location in the side chapel in the Basilica of the Sacred Heart

File:Basilica of the Sacred Heart (Notre Dame, Indiana) - interior, the Ivan Mestrovic Pieta (1942) made of Carara marble.jpg


Prompt: Focus on The Martyrdom of Saint Erasmus (Poussin) and explain the abstract.

The Martyrdom of Saint Erasmus is an altarpiece, painted by Nicolas Poussin in 1628–1629, originally displayed in St. Peter's Basilica, Rome.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: Explain the abstract of this artwork, The Martyrdom of Saint Erasmus (Poussin).

The Martyrdom of Saint Erasmus is an altarpiece, painted by Nicolas Poussin in 1628–1629, originally displayed in St. Peter's Basilica, Rome.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: How does The Martyrdom of Saint Erasmus (Poussin) explain its abstract?

The Martyrdom of Saint Erasmus is an altarpiece, painted by Nicolas Poussin in 1628–1629, originally displayed in St. Peter's Basilica, Rome.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: In The Martyrdom of Saint Erasmus (Poussin), how is the abstract discussed?

The Martyrdom of Saint Erasmus is an altarpiece, painted by Nicolas Poussin in 1628–1629, originally displayed in St. Peter's Basilica, Rome.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: Focus on The Martyrdom of Saint Erasmus (Poussin) and explain the History.

The painting was commissioned on February 5, 1628, by the Fabric of Saint Peter, to adorn the altar dedicated to Erasmus of Formia in St. Peter's Basilica. More precisely, it was to be located to the left of the north transept, near the Martyrdom of Saint Processus and Saint Martinian by Valentin de Boulogne (1629). The Fabric required Poussin to adopt the composition of the painting to be replaced, except that the white-robed pagan priest was to be moved to the side of the composition. The Pope first invited Pietro da Cortona to carry out the commission, but Poussin was finally chosen thanks to the intervention of his protector, Cassiano dal Pozzo, the secretary of Cardinal Francesco Barberini. The latter had previously commissioned him to create The Capture of Jerusalem (Israel Museum) in 1626 and The Death of Germanicus in 1627, assuring Poussin's reputation in Rome where he had arrived four years earlier.Two preparatory drawings are known, the first kept in the Biblioteca Ambrosiana in Milan, and the second in the Gabinetto dei Disegni e delle Stampe of the Uffizi in Florence. Poussin then produced a modello currently in the National Gallery of Canada in Ottawa. The altarpiece panel is the only work of Poussin's that can be seen in a public building in the city from the time of the painter, and is also the only altarpiece to which he added his signature.The painting was finally transferred to the Quirinal Palace before 1763. It was seized by French troops in 1797 and sent to the Louvre in Paris, where it remained until 1817. On that date, it was returned to the Holy See and kept at the Vatican Museums.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: Explain the History of this artwork, The Martyrdom of Saint Erasmus (Poussin).

The painting was commissioned on February 5, 1628, by the Fabric of Saint Peter, to adorn the altar dedicated to Erasmus of Formia in St. Peter's Basilica. More precisely, it was to be located to the left of the north transept, near the Martyrdom of Saint Processus and Saint Martinian by Valentin de Boulogne (1629). The Fabric required Poussin to adopt the composition of the painting to be replaced, except that the white-robed pagan priest was to be moved to the side of the composition. The Pope first invited Pietro da Cortona to carry out the commission, but Poussin was finally chosen thanks to the intervention of his protector, Cassiano dal Pozzo, the secretary of Cardinal Francesco Barberini. The latter had previously commissioned him to create The Capture of Jerusalem (Israel Museum) in 1626 and The Death of Germanicus in 1627, assuring Poussin's reputation in Rome where he had arrived four years earlier.Two preparatory drawings are known, the first kept in the Biblioteca Ambrosiana in Milan, and the second in the Gabinetto dei Disegni e delle Stampe of the Uffizi in Florence. Poussin then produced a modello currently in the National Gallery of Canada in Ottawa. The altarpiece panel is the only work of Poussin's that can be seen in a public building in the city from the time of the painter, and is also the only altarpiece to which he added his signature.The painting was finally transferred to the Quirinal Palace before 1763. It was seized by French troops in 1797 and sent to the Louvre in Paris, where it remained until 1817. On that date, it was returned to the Holy See and kept at the Vatican Museums.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: How does The Martyrdom of Saint Erasmus (Poussin) explain its History?

The painting was commissioned on February 5, 1628, by the Fabric of Saint Peter, to adorn the altar dedicated to Erasmus of Formia in St. Peter's Basilica. More precisely, it was to be located to the left of the north transept, near the Martyrdom of Saint Processus and Saint Martinian by Valentin de Boulogne (1629). The Fabric required Poussin to adopt the composition of the painting to be replaced, except that the white-robed pagan priest was to be moved to the side of the composition. The Pope first invited Pietro da Cortona to carry out the commission, but Poussin was finally chosen thanks to the intervention of his protector, Cassiano dal Pozzo, the secretary of Cardinal Francesco Barberini. The latter had previously commissioned him to create The Capture of Jerusalem (Israel Museum) in 1626 and The Death of Germanicus in 1627, assuring Poussin's reputation in Rome where he had arrived four years earlier.Two preparatory drawings are known, the first kept in the Biblioteca Ambrosiana in Milan, and the second in the Gabinetto dei Disegni e delle Stampe of the Uffizi in Florence. Poussin then produced a modello currently in the National Gallery of Canada in Ottawa. The altarpiece panel is the only work of Poussin's that can be seen in a public building in the city from the time of the painter, and is also the only altarpiece to which he added his signature.The painting was finally transferred to the Quirinal Palace before 1763. It was seized by French troops in 1797 and sent to the Louvre in Paris, where it remained until 1817. On that date, it was returned to the Holy See and kept at the Vatican Museums.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: In The Martyrdom of Saint Erasmus (Poussin), how is the History discussed?

The painting was commissioned on February 5, 1628, by the Fabric of Saint Peter, to adorn the altar dedicated to Erasmus of Formia in St. Peter's Basilica. More precisely, it was to be located to the left of the north transept, near the Martyrdom of Saint Processus and Saint Martinian by Valentin de Boulogne (1629). The Fabric required Poussin to adopt the composition of the painting to be replaced, except that the white-robed pagan priest was to be moved to the side of the composition. The Pope first invited Pietro da Cortona to carry out the commission, but Poussin was finally chosen thanks to the intervention of his protector, Cassiano dal Pozzo, the secretary of Cardinal Francesco Barberini. The latter had previously commissioned him to create The Capture of Jerusalem (Israel Museum) in 1626 and The Death of Germanicus in 1627, assuring Poussin's reputation in Rome where he had arrived four years earlier.Two preparatory drawings are known, the first kept in the Biblioteca Ambrosiana in Milan, and the second in the Gabinetto dei Disegni e delle Stampe of the Uffizi in Florence. Poussin then produced a modello currently in the National Gallery of Canada in Ottawa. The altarpiece panel is the only work of Poussin's that can be seen in a public building in the city from the time of the painter, and is also the only altarpiece to which he added his signature.The painting was finally transferred to the Quirinal Palace before 1763. It was seized by French troops in 1797 and sent to the Louvre in Paris, where it remained until 1817. On that date, it was returned to the Holy See and kept at the Vatican Museums.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: In the context of The Martyrdom of Saint Erasmus (Poussin), explain the Subject and the Description.

The painting represents one of the many tortures suffered by Erasmus of Formia, Bishop of Antioch, taken by an angel to southern Italy, and pursued by the persecutions of Maximian Hercules. The torture represented here does not come from the Roman Martyrology but from the Golden Legend of Jacobus de Voragine. The emperor ordered that he be tied to a table and his intestines extracted by a windlass. This is the last torture suffered by the saint before his death, according to legend. The emperor would have ordered the saint to sacrifice to the gods, and he would have replied that he "refused to sacrifice to the stone gods whom you resemble". Then, once taken to the temple of Jupiter, the statue would have collapsed into dust. The statue here represented at the top right does not represent Jupiter but Hercules, recalling the nickname of the emperor.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: Explain the Subject about the Description of this artwork, The Martyrdom of Saint Erasmus (Poussin).

The painting represents one of the many tortures suffered by Erasmus of Formia, Bishop of Antioch, taken by an angel to southern Italy, and pursued by the persecutions of Maximian Hercules. The torture represented here does not come from the Roman Martyrology but from the Golden Legend of Jacobus de Voragine. The emperor ordered that he be tied to a table and his intestines extracted by a windlass. This is the last torture suffered by the saint before his death, according to legend. The emperor would have ordered the saint to sacrifice to the gods, and he would have replied that he "refused to sacrifice to the stone gods whom you resemble". Then, once taken to the temple of Jupiter, the statue would have collapsed into dust. The statue here represented at the top right does not represent Jupiter but Hercules, recalling the nickname of the emperor.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: In The Martyrdom of Saint Erasmus (Poussin), how is the Subject of the Description explained?

The painting represents one of the many tortures suffered by Erasmus of Formia, Bishop of Antioch, taken by an angel to southern Italy, and pursued by the persecutions of Maximian Hercules. The torture represented here does not come from the Roman Martyrology but from the Golden Legend of Jacobus de Voragine. The emperor ordered that he be tied to a table and his intestines extracted by a windlass. This is the last torture suffered by the saint before his death, according to legend. The emperor would have ordered the saint to sacrifice to the gods, and he would have replied that he "refused to sacrifice to the stone gods whom you resemble". Then, once taken to the temple of Jupiter, the statue would have collapsed into dust. The statue here represented at the top right does not represent Jupiter but Hercules, recalling the nickname of the emperor.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: Describe the characteristics of the Subject in The Martyrdom of Saint Erasmus (Poussin)'s Description.

The painting represents one of the many tortures suffered by Erasmus of Formia, Bishop of Antioch, taken by an angel to southern Italy, and pursued by the persecutions of Maximian Hercules. The torture represented here does not come from the Roman Martyrology but from the Golden Legend of Jacobus de Voragine. The emperor ordered that he be tied to a table and his intestines extracted by a windlass. This is the last torture suffered by the saint before his death, according to legend. The emperor would have ordered the saint to sacrifice to the gods, and he would have replied that he "refused to sacrifice to the stone gods whom you resemble". Then, once taken to the temple of Jupiter, the statue would have collapsed into dust. The statue here represented at the top right does not represent Jupiter but Hercules, recalling the nickname of the emperor.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: In the context of The Martyrdom of Saint Erasmus (Poussin), explain the Original location and the Description.

The painting was intended to decorate the altarpiece of the altar located to the left of the north transept. This altar has a decoration that dates back to the time of Pope Clement VIII, made of gilded stucco and polychromatic marble. It has been consecrated to Saint Erasmus of Formia since 1605, after the relics of the saint were transferred to the site from the old basilica, where the cult of this saint dates back to 1119. It is an altar that is poorly endowed for his worship but which is the subject of fervent worship on the part of the faithful, which no doubt explains its continued existence in the new basilica. The old altarpiece was decorated with a painting known only from an engraving by Jacques Callot. This was attributed to an obscure Mannerist painter of Polish origin by the name of Thomas Treter, and dated around 1575. However, this attribution and dating is questioned. Treter's painting remained in place in the new basilica between at least 1605 and 1627.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: Explain the Original location about the Description of this artwork, The Martyrdom of Saint Erasmus (Poussin).

The painting was intended to decorate the altarpiece of the altar located to the left of the north transept. This altar has a decoration that dates back to the time of Pope Clement VIII, made of gilded stucco and polychromatic marble. It has been consecrated to Saint Erasmus of Formia since 1605, after the relics of the saint were transferred to the site from the old basilica, where the cult of this saint dates back to 1119. It is an altar that is poorly endowed for his worship but which is the subject of fervent worship on the part of the faithful, which no doubt explains its continued existence in the new basilica. The old altarpiece was decorated with a painting known only from an engraving by Jacques Callot. This was attributed to an obscure Mannerist painter of Polish origin by the name of Thomas Treter, and dated around 1575. However, this attribution and dating is questioned. Treter's painting remained in place in the new basilica between at least 1605 and 1627.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: In The Martyrdom of Saint Erasmus (Poussin), how is the Original location of the Description explained?

The painting was intended to decorate the altarpiece of the altar located to the left of the north transept. This altar has a decoration that dates back to the time of Pope Clement VIII, made of gilded stucco and polychromatic marble. It has been consecrated to Saint Erasmus of Formia since 1605, after the relics of the saint were transferred to the site from the old basilica, where the cult of this saint dates back to 1119. It is an altar that is poorly endowed for his worship but which is the subject of fervent worship on the part of the faithful, which no doubt explains its continued existence in the new basilica. The old altarpiece was decorated with a painting known only from an engraving by Jacques Callot. This was attributed to an obscure Mannerist painter of Polish origin by the name of Thomas Treter, and dated around 1575. However, this attribution and dating is questioned. Treter's painting remained in place in the new basilica between at least 1605 and 1627.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: Describe the characteristics of the Original location in The Martyrdom of Saint Erasmus (Poussin)'s Description.

The painting was intended to decorate the altarpiece of the altar located to the left of the north transept. This altar has a decoration that dates back to the time of Pope Clement VIII, made of gilded stucco and polychromatic marble. It has been consecrated to Saint Erasmus of Formia since 1605, after the relics of the saint were transferred to the site from the old basilica, where the cult of this saint dates back to 1119. It is an altar that is poorly endowed for his worship but which is the subject of fervent worship on the part of the faithful, which no doubt explains its continued existence in the new basilica. The old altarpiece was decorated with a painting known only from an engraving by Jacques Callot. This was attributed to an obscure Mannerist painter of Polish origin by the name of Thomas Treter, and dated around 1575. However, this attribution and dating is questioned. Treter's painting remained in place in the new basilica between at least 1605 and 1627.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: In the context of The Martyrdom of Saint Erasmus (Poussin), explain the Analysis and the Description.

The Martyrdom of Saint Erasmus, by its position, was intended to be viewed mainly from an angle, and Poussin took this into account in its composition. He structured it in obliques starting from the bottom left and the head of the saint to the top right, the statue, along the body of the saint and the arm of the priest. The representation does not insist on the horror of the scene, but on Erasmus's stoic resistance. The martyr (etymologically, the witness), testifies to the sacrifice of Christ and to the strength of his resisting faith. Poussin is marked here by the imprint of the large Venetian altarpieces and by the coloration of Pietro da Cortona.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: Explain the Analysis about the Description of this artwork, The Martyrdom of Saint Erasmus (Poussin).

The Martyrdom of Saint Erasmus, by its position, was intended to be viewed mainly from an angle, and Poussin took this into account in its composition. He structured it in obliques starting from the bottom left and the head of the saint to the top right, the statue, along the body of the saint and the arm of the priest. The representation does not insist on the horror of the scene, but on Erasmus's stoic resistance. The martyr (etymologically, the witness), testifies to the sacrifice of Christ and to the strength of his resisting faith. Poussin is marked here by the imprint of the large Venetian altarpieces and by the coloration of Pietro da Cortona.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: In The Martyrdom of Saint Erasmus (Poussin), how is the Analysis of the Description explained?

The Martyrdom of Saint Erasmus, by its position, was intended to be viewed mainly from an angle, and Poussin took this into account in its composition. He structured it in obliques starting from the bottom left and the head of the saint to the top right, the statue, along the body of the saint and the arm of the priest. The representation does not insist on the horror of the scene, but on Erasmus's stoic resistance. The martyr (etymologically, the witness), testifies to the sacrifice of Christ and to the strength of his resisting faith. Poussin is marked here by the imprint of the large Venetian altarpieces and by the coloration of Pietro da Cortona.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Prompt: Describe the characteristics of the Analysis in The Martyrdom of Saint Erasmus (Poussin)'s Description.

The Martyrdom of Saint Erasmus, by its position, was intended to be viewed mainly from an angle, and Poussin took this into account in its composition. He structured it in obliques starting from the bottom left and the head of the saint to the top right, the statue, along the body of the saint and the arm of the priest. The representation does not insist on the horror of the scene, but on Erasmus's stoic resistance. The martyr (etymologically, the witness), testifies to the sacrifice of Christ and to the strength of his resisting faith. Poussin is marked here by the imprint of the large Venetian altarpieces and by the coloration of Pietro da Cortona.

''Modello'' ([[National Gallery of Canada

Category:Paintings in the Vatican Museums

Dieric Bouts, ''The Martyrdom of Saint Erasmus'' (c. 1466)


Dolbadarn Castle (Turner)

Prompt: Focus on Dolbadarn Castle (Turner) and explain the abstract.

Dolbadarn Castle is an oil painting by  J. M. W. Turner (1775–1851) depicting Dolbadarn Castle, created in 1798–1799. It is part of a body of work completed by Turner during a tour of the region, which included Dolbadarn, Llanberis and other parts of Snowdonia. Many supporting studies can be found in a sketch book now held by Tate Britain (Record: TB XLVI). When Turner returned to his London studio he developed these sketches into a number of more accomplished paintings of North Wales, including this one, which is now kept at the National Library of Wales.This painting is particularly notable as it is one of two that Turner submitted as Diploma works to the Royal Academy in 1800.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: Explain the abstract of this artwork, Dolbadarn Castle (Turner).

Dolbadarn Castle is an oil painting by  J. M. W. Turner (1775–1851) depicting Dolbadarn Castle, created in 1798–1799. It is part of a body of work completed by Turner during a tour of the region, which included Dolbadarn, Llanberis and other parts of Snowdonia. Many supporting studies can be found in a sketch book now held by Tate Britain (Record: TB XLVI). When Turner returned to his London studio he developed these sketches into a number of more accomplished paintings of North Wales, including this one, which is now kept at the National Library of Wales.This painting is particularly notable as it is one of two that Turner submitted as Diploma works to the Royal Academy in 1800.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: How does Dolbadarn Castle (Turner) explain its abstract?

Dolbadarn Castle is an oil painting by  J. M. W. Turner (1775–1851) depicting Dolbadarn Castle, created in 1798–1799. It is part of a body of work completed by Turner during a tour of the region, which included Dolbadarn, Llanberis and other parts of Snowdonia. Many supporting studies can be found in a sketch book now held by Tate Britain (Record: TB XLVI). When Turner returned to his London studio he developed these sketches into a number of more accomplished paintings of North Wales, including this one, which is now kept at the National Library of Wales.This painting is particularly notable as it is one of two that Turner submitted as Diploma works to the Royal Academy in 1800.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: In Dolbadarn Castle (Turner), how is the abstract discussed?

Dolbadarn Castle is an oil painting by  J. M. W. Turner (1775–1851) depicting Dolbadarn Castle, created in 1798–1799. It is part of a body of work completed by Turner during a tour of the region, which included Dolbadarn, Llanberis and other parts of Snowdonia. Many supporting studies can be found in a sketch book now held by Tate Britain (Record: TB XLVI). When Turner returned to his London studio he developed these sketches into a number of more accomplished paintings of North Wales, including this one, which is now kept at the National Library of Wales.This painting is particularly notable as it is one of two that Turner submitted as Diploma works to the Royal Academy in 1800.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: Focus on Dolbadarn Castle (Turner) and explain the Historical event.

The painting is an artist's impression of a 13th-century event of some importance in Welsh history. It depicts Owain Goch, the brother of Prince Llywelyn ap Gruffudd (LLywelyn the Second), being taken by soldiers to prison at Dolbadarn Castle. Owain was imprisoned at the Castle between 1255 and 1277, when he was released. The imprisonment of Owain, dressed in red in the painting, left his brother Llywelyn free to concentrate on uniting Wales against the English.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: Explain the Historical event of this artwork, Dolbadarn Castle (Turner).

The painting is an artist's impression of a 13th-century event of some importance in Welsh history. It depicts Owain Goch, the brother of Prince Llywelyn ap Gruffudd (LLywelyn the Second), being taken by soldiers to prison at Dolbadarn Castle. Owain was imprisoned at the Castle between 1255 and 1277, when he was released. The imprisonment of Owain, dressed in red in the painting, left his brother Llywelyn free to concentrate on uniting Wales against the English.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: How does Dolbadarn Castle (Turner) explain its Historical event?

The painting is an artist's impression of a 13th-century event of some importance in Welsh history. It depicts Owain Goch, the brother of Prince Llywelyn ap Gruffudd (LLywelyn the Second), being taken by soldiers to prison at Dolbadarn Castle. Owain was imprisoned at the Castle between 1255 and 1277, when he was released. The imprisonment of Owain, dressed in red in the painting, left his brother Llywelyn free to concentrate on uniting Wales against the English.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: In Dolbadarn Castle (Turner), how is the Historical event discussed?

The painting is an artist's impression of a 13th-century event of some importance in Welsh history. It depicts Owain Goch, the brother of Prince Llywelyn ap Gruffudd (LLywelyn the Second), being taken by soldiers to prison at Dolbadarn Castle. Owain was imprisoned at the Castle between 1255 and 1277, when he was released. The imprisonment of Owain, dressed in red in the painting, left his brother Llywelyn free to concentrate on uniting Wales against the English.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: Focus on Dolbadarn Castle (Turner) and explain the Travel  through Wales.

Turner first visited Wales in 1792, when he traveled through the south of the country. On his second visit in 1794, he visited Flintshire and Denbighshire. In 1798 he paid a much longer visit to Wales, travelling through Dyffryn Wysg, Ceredigion, Aberystwyth, Gwynedd and Llangollen.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: Explain the Travel  through Wales of this artwork, Dolbadarn Castle (Turner).

Turner first visited Wales in 1792, when he traveled through the south of the country. On his second visit in 1794, he visited Flintshire and Denbighshire. In 1798 he paid a much longer visit to Wales, travelling through Dyffryn Wysg, Ceredigion, Aberystwyth, Gwynedd and Llangollen.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: How does Dolbadarn Castle (Turner) explain its Travel  through Wales?

Turner first visited Wales in 1792, when he traveled through the south of the country. On his second visit in 1794, he visited Flintshire and Denbighshire. In 1798 he paid a much longer visit to Wales, travelling through Dyffryn Wysg, Ceredigion, Aberystwyth, Gwynedd and Llangollen.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: In Dolbadarn Castle (Turner), how is the Travel  through Wales discussed?

Turner first visited Wales in 1792, when he traveled through the south of the country. On his second visit in 1794, he visited Flintshire and Denbighshire. In 1798 he paid a much longer visit to Wales, travelling through Dyffryn Wysg, Ceredigion, Aberystwyth, Gwynedd and Llangollen.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: Focus on Dolbadarn Castle (Turner) and explain the Details of the picture.

The frame was especially commissioned for the painting from John Jones of London, in the 1940s. The picture was purchased by the Library with the help of the National Art Collection Fund and the National Lottery. The medium is oil on a wood panel and the visible area measures 45.5 x 30 cm., and the  frame  62 x 50 cm. Turner also submitted this work with some lines of verse related to the painting's themes, a relatively common practice of his. The verse reads, "How awful is the silence of the waste,/ Where nature lifts her mountains to the sky,/ Majestic solitude, behold the tower/ Where hopeless OWEN, long imprison'd, pined/ And wrung his hands for liberty in vain."Turner's use of contrast between light and dark creates a sense of peril and categorizes the painting as an example of the Sublime.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: Explain the Details of the picture of this artwork, Dolbadarn Castle (Turner).

The frame was especially commissioned for the painting from John Jones of London, in the 1940s. The picture was purchased by the Library with the help of the National Art Collection Fund and the National Lottery. The medium is oil on a wood panel and the visible area measures 45.5 x 30 cm., and the  frame  62 x 50 cm. Turner also submitted this work with some lines of verse related to the painting's themes, a relatively common practice of his. The verse reads, "How awful is the silence of the waste,/ Where nature lifts her mountains to the sky,/ Majestic solitude, behold the tower/ Where hopeless OWEN, long imprison'd, pined/ And wrung his hands for liberty in vain."Turner's use of contrast between light and dark creates a sense of peril and categorizes the painting as an example of the Sublime.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: How does Dolbadarn Castle (Turner) explain its Details of the picture?

The frame was especially commissioned for the painting from John Jones of London, in the 1940s. The picture was purchased by the Library with the help of the National Art Collection Fund and the National Lottery. The medium is oil on a wood panel and the visible area measures 45.5 x 30 cm., and the  frame  62 x 50 cm. Turner also submitted this work with some lines of verse related to the painting's themes, a relatively common practice of his. The verse reads, "How awful is the silence of the waste,/ Where nature lifts her mountains to the sky,/ Majestic solitude, behold the tower/ Where hopeless OWEN, long imprison'd, pined/ And wrung his hands for liberty in vain."Turner's use of contrast between light and dark creates a sense of peril and categorizes the painting as an example of the Sublime.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: In Dolbadarn Castle (Turner), how is the Details of the picture discussed?

The frame was especially commissioned for the painting from John Jones of London, in the 1940s. The picture was purchased by the Library with the help of the National Art Collection Fund and the National Lottery. The medium is oil on a wood panel and the visible area measures 45.5 x 30 cm., and the  frame  62 x 50 cm. Turner also submitted this work with some lines of verse related to the painting's themes, a relatively common practice of his. The verse reads, "How awful is the silence of the waste,/ Where nature lifts her mountains to the sky,/ Majestic solitude, behold the tower/ Where hopeless OWEN, long imprison'd, pined/ And wrung his hands for liberty in vain."Turner's use of contrast between light and dark creates a sense of peril and categorizes the painting as an example of the Sublime.

Category:Paintings in the National Library of Wales


Jack the Ripper's Bedroom

Prompt: Focus on Jack the Ripper's Bedroom and explain the abstract.

Jack the Ripper's Bedroom is an oil on canvas painting by German-born British artist Walter Sickert, painted from c. 1906 to 1907. It depicts the darkly lit bedroom of Jack the Ripper, the culprit of at least five of London's Whitechapel murders in 1888.The model bedroom was actually Sickert's own bedroom in his flat at 6 Mornington Crescent in London; the landlady of the flat told Sickert she believed the bedroom had belonged to the Ripper in 1888. Discussion of the piece is tied to controversial theories about Sickert as a possible culprit or associate of Jack the Ripper, which started in the 1970s after the release of Stephen Knight's book Jack the Ripper: The Final Solution. The painting has mostly stayed in the Manchester Art Gallery since 1980.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: Explain the abstract of this artwork, Jack the Ripper's Bedroom.

Jack the Ripper's Bedroom is an oil on canvas painting by German-born British artist Walter Sickert, painted from c. 1906 to 1907. It depicts the darkly lit bedroom of Jack the Ripper, the culprit of at least five of London's Whitechapel murders in 1888.The model bedroom was actually Sickert's own bedroom in his flat at 6 Mornington Crescent in London; the landlady of the flat told Sickert she believed the bedroom had belonged to the Ripper in 1888. Discussion of the piece is tied to controversial theories about Sickert as a possible culprit or associate of Jack the Ripper, which started in the 1970s after the release of Stephen Knight's book Jack the Ripper: The Final Solution. The painting has mostly stayed in the Manchester Art Gallery since 1980.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: How does Jack the Ripper's Bedroom explain its abstract?

Jack the Ripper's Bedroom is an oil on canvas painting by German-born British artist Walter Sickert, painted from c. 1906 to 1907. It depicts the darkly lit bedroom of Jack the Ripper, the culprit of at least five of London's Whitechapel murders in 1888.The model bedroom was actually Sickert's own bedroom in his flat at 6 Mornington Crescent in London; the landlady of the flat told Sickert she believed the bedroom had belonged to the Ripper in 1888. Discussion of the piece is tied to controversial theories about Sickert as a possible culprit or associate of Jack the Ripper, which started in the 1970s after the release of Stephen Knight's book Jack the Ripper: The Final Solution. The painting has mostly stayed in the Manchester Art Gallery since 1980.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: In Jack the Ripper's Bedroom, how is the abstract discussed?

Jack the Ripper's Bedroom is an oil on canvas painting by German-born British artist Walter Sickert, painted from c. 1906 to 1907. It depicts the darkly lit bedroom of Jack the Ripper, the culprit of at least five of London's Whitechapel murders in 1888.The model bedroom was actually Sickert's own bedroom in his flat at 6 Mornington Crescent in London; the landlady of the flat told Sickert she believed the bedroom had belonged to the Ripper in 1888. Discussion of the piece is tied to controversial theories about Sickert as a possible culprit or associate of Jack the Ripper, which started in the 1970s after the release of Stephen Knight's book Jack the Ripper: The Final Solution. The painting has mostly stayed in the Manchester Art Gallery since 1980.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: In the context of Jack the Ripper's Bedroom, explain the Jack the Ripper and the Background.

Jack the Ripper was the culprit in at least five of the 1888 Whitechapel murders of many women in London. Whitechapel was a "notoriously rough" area at the East End of the city. The five victims tied to the Ripper, all prostitutes, were Mary Ann Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes, and Mary Jane Kelly. Jack the Ripper's identity was never discovered. Press coverage of the murders was extensive, and the murders have stayed in the public consciousness since then.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: Explain the Jack the Ripper about the Background of this artwork, Jack the Ripper's Bedroom.

Jack the Ripper was the culprit in at least five of the 1888 Whitechapel murders of many women in London. Whitechapel was a "notoriously rough" area at the East End of the city. The five victims tied to the Ripper, all prostitutes, were Mary Ann Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes, and Mary Jane Kelly. Jack the Ripper's identity was never discovered. Press coverage of the murders was extensive, and the murders have stayed in the public consciousness since then.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: In Jack the Ripper's Bedroom, how is the Jack the Ripper of the Background explained?

Jack the Ripper was the culprit in at least five of the 1888 Whitechapel murders of many women in London. Whitechapel was a "notoriously rough" area at the East End of the city. The five victims tied to the Ripper, all prostitutes, were Mary Ann Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes, and Mary Jane Kelly. Jack the Ripper's identity was never discovered. Press coverage of the murders was extensive, and the murders have stayed in the public consciousness since then.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: Describe the characteristics of the Jack the Ripper in Jack the Ripper's Bedroom's Background.

Jack the Ripper was the culprit in at least five of the 1888 Whitechapel murders of many women in London. Whitechapel was a "notoriously rough" area at the East End of the city. The five victims tied to the Ripper, all prostitutes, were Mary Ann Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes, and Mary Jane Kelly. Jack the Ripper's identity was never discovered. Press coverage of the murders was extensive, and the murders have stayed in the public consciousness since then.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: In the context of Jack the Ripper's Bedroom, explain the Walter Sickert and the Background.

Walter Sickert was a German-born British artist. He was fascinated with the Ripper, and his friends said he would dress up as the Ripper. With his paintings, he had an "[underlying] desire to confront taboo social subjects in order to shake the complacency he believed dominated English subject matter". At the time of painting Jack the Ripper's Bedroom, he lived in a flat at 6 Mornington Crescent, Camden Town, North London. Camden Town is about 5 miles from Whitechapel. He moved there in 1905. When Sickert rented the flat, his landlady, Mrs. Louisa Jones, had told him she suspected the previous tenant, who lived there in 1888, was the Ripper. She said that the tenant had gone out on the events of days relevant to the murders, and left once the murders stopped. She told Sickert the name of the tenant, which he wrote in the flyleaf of a book. The book was lent to Albert Rutherson, who lost it. In 1907, Camden Town resident Emily Dimmock had her throat slit in the "Camden Town Murder", and Sickert may have connected that murder to the Ripper. He also made four paintings depicting the murder, named The Camden Town Murder.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: Explain the Walter Sickert about the Background of this artwork, Jack the Ripper's Bedroom.

Walter Sickert was a German-born British artist. He was fascinated with the Ripper, and his friends said he would dress up as the Ripper. With his paintings, he had an "[underlying] desire to confront taboo social subjects in order to shake the complacency he believed dominated English subject matter". At the time of painting Jack the Ripper's Bedroom, he lived in a flat at 6 Mornington Crescent, Camden Town, North London. Camden Town is about 5 miles from Whitechapel. He moved there in 1905. When Sickert rented the flat, his landlady, Mrs. Louisa Jones, had told him she suspected the previous tenant, who lived there in 1888, was the Ripper. She said that the tenant had gone out on the events of days relevant to the murders, and left once the murders stopped. She told Sickert the name of the tenant, which he wrote in the flyleaf of a book. The book was lent to Albert Rutherson, who lost it. In 1907, Camden Town resident Emily Dimmock had her throat slit in the "Camden Town Murder", and Sickert may have connected that murder to the Ripper. He also made four paintings depicting the murder, named The Camden Town Murder.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: In Jack the Ripper's Bedroom, how is the Walter Sickert of the Background explained?

Walter Sickert was a German-born British artist. He was fascinated with the Ripper, and his friends said he would dress up as the Ripper. With his paintings, he had an "[underlying] desire to confront taboo social subjects in order to shake the complacency he believed dominated English subject matter". At the time of painting Jack the Ripper's Bedroom, he lived in a flat at 6 Mornington Crescent, Camden Town, North London. Camden Town is about 5 miles from Whitechapel. He moved there in 1905. When Sickert rented the flat, his landlady, Mrs. Louisa Jones, had told him she suspected the previous tenant, who lived there in 1888, was the Ripper. She said that the tenant had gone out on the events of days relevant to the murders, and left once the murders stopped. She told Sickert the name of the tenant, which he wrote in the flyleaf of a book. The book was lent to Albert Rutherson, who lost it. In 1907, Camden Town resident Emily Dimmock had her throat slit in the "Camden Town Murder", and Sickert may have connected that murder to the Ripper. He also made four paintings depicting the murder, named The Camden Town Murder.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: Describe the characteristics of the Walter Sickert in Jack the Ripper's Bedroom's Background.

Walter Sickert was a German-born British artist. He was fascinated with the Ripper, and his friends said he would dress up as the Ripper. With his paintings, he had an "[underlying] desire to confront taboo social subjects in order to shake the complacency he believed dominated English subject matter". At the time of painting Jack the Ripper's Bedroom, he lived in a flat at 6 Mornington Crescent, Camden Town, North London. Camden Town is about 5 miles from Whitechapel. He moved there in 1905. When Sickert rented the flat, his landlady, Mrs. Louisa Jones, had told him she suspected the previous tenant, who lived there in 1888, was the Ripper. She said that the tenant had gone out on the events of days relevant to the murders, and left once the murders stopped. She told Sickert the name of the tenant, which he wrote in the flyleaf of a book. The book was lent to Albert Rutherson, who lost it. In 1907, Camden Town resident Emily Dimmock had her throat slit in the "Camden Town Murder", and Sickert may have connected that murder to the Ripper. He also made four paintings depicting the murder, named The Camden Town Murder.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: Focus on Jack the Ripper's Bedroom and explain the Composition.

Jack the Ripper's Bedroom is an oil on canvas painting, painted from c. 1906 to 1907. In the scene, drawn in an "illegible" style, a darkly lit middle-class bedroom is seen through an open doorway and a hallway. The model for the bedroom was the bedroom of Sickert's flat. There is pink light coming through the horizontal slats of a window's blinds at the back of the room. The furniture, which includes a dressing table and two chairs, is indistinct enough to prevent the viewer from making out certain details. The Manchester Art Gallery's description of the painting says the indistinction makes "it conceivable that there is a person sitting on the [center] chair, but there is no one there." In 6 Mornington Crescent, the doorway to the bedroom's hallway was located at the back of the house, connected to the first-floor front room. Author Wendy Baron, writing for the Yale University Press, calls the painting "moody" and "sinister", and highlights Sickert's talent for composing melodrama.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: Explain the Composition of this artwork, Jack the Ripper's Bedroom.

Jack the Ripper's Bedroom is an oil on canvas painting, painted from c. 1906 to 1907. In the scene, drawn in an "illegible" style, a darkly lit middle-class bedroom is seen through an open doorway and a hallway. The model for the bedroom was the bedroom of Sickert's flat. There is pink light coming through the horizontal slats of a window's blinds at the back of the room. The furniture, which includes a dressing table and two chairs, is indistinct enough to prevent the viewer from making out certain details. The Manchester Art Gallery's description of the painting says the indistinction makes "it conceivable that there is a person sitting on the [center] chair, but there is no one there." In 6 Mornington Crescent, the doorway to the bedroom's hallway was located at the back of the house, connected to the first-floor front room. Author Wendy Baron, writing for the Yale University Press, calls the painting "moody" and "sinister", and highlights Sickert's talent for composing melodrama.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: How does Jack the Ripper's Bedroom explain its Composition?

Jack the Ripper's Bedroom is an oil on canvas painting, painted from c. 1906 to 1907. In the scene, drawn in an "illegible" style, a darkly lit middle-class bedroom is seen through an open doorway and a hallway. The model for the bedroom was the bedroom of Sickert's flat. There is pink light coming through the horizontal slats of a window's blinds at the back of the room. The furniture, which includes a dressing table and two chairs, is indistinct enough to prevent the viewer from making out certain details. The Manchester Art Gallery's description of the painting says the indistinction makes "it conceivable that there is a person sitting on the [center] chair, but there is no one there." In 6 Mornington Crescent, the doorway to the bedroom's hallway was located at the back of the house, connected to the first-floor front room. Author Wendy Baron, writing for the Yale University Press, calls the painting "moody" and "sinister", and highlights Sickert's talent for composing melodrama.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: In Jack the Ripper's Bedroom, how is the Composition discussed?

Jack the Ripper's Bedroom is an oil on canvas painting, painted from c. 1906 to 1907. In the scene, drawn in an "illegible" style, a darkly lit middle-class bedroom is seen through an open doorway and a hallway. The model for the bedroom was the bedroom of Sickert's flat. There is pink light coming through the horizontal slats of a window's blinds at the back of the room. The furniture, which includes a dressing table and two chairs, is indistinct enough to prevent the viewer from making out certain details. The Manchester Art Gallery's description of the painting says the indistinction makes "it conceivable that there is a person sitting on the [center] chair, but there is no one there." In 6 Mornington Crescent, the doorway to the bedroom's hallway was located at the back of the house, connected to the first-floor front room. Author Wendy Baron, writing for the Yale University Press, calls the painting "moody" and "sinister", and highlights Sickert's talent for composing melodrama.

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: Focus on Jack the Ripper's Bedroom and explain the Legacy.

The painting is cited as an early example of Jack the Ripper in the arts. It was bequeathed by Mars Mary Ciely Tatlock to the Manchester Art Gallery in 1980. In 2002, it was temporarily at the Walker Art Gallery in Liverpool for the exhibition "Sickert: A Life in Art".

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: Explain the Legacy of this artwork, Jack the Ripper's Bedroom.

The painting is cited as an early example of Jack the Ripper in the arts. It was bequeathed by Mars Mary Ciely Tatlock to the Manchester Art Gallery in 1980. In 2002, it was temporarily at the Walker Art Gallery in Liverpool for the exhibition "Sickert: A Life in Art".

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: How does Jack the Ripper's Bedroom explain its Legacy?

The painting is cited as an early example of Jack the Ripper in the arts. It was bequeathed by Mars Mary Ciely Tatlock to the Manchester Art Gallery in 1980. In 2002, it was temporarily at the Walker Art Gallery in Liverpool for the exhibition "Sickert: A Life in Art".

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: In Jack the Ripper's Bedroom, how is the Legacy discussed?

The painting is cited as an early example of Jack the Ripper in the arts. It was bequeathed by Mars Mary Ciely Tatlock to the Manchester Art Gallery in 1980. In 2002, it was temporarily at the Walker Art Gallery in Liverpool for the exhibition "Sickert: A Life in Art".

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: In the context of Jack the Ripper's Bedroom, explain the Theories regarding Sickert being Jack the Ripper and the Legacy.

The painting has been used as evidence of the controversial theory that Sickert was the culprit or associate of Jack the Ripper. The theory started when Joseph Sickert, Walter's son, told author Stephen Knight that Walter had told him the truth about the murders, and that they were carried about by William Gull, and aided by John Netley and Robert Anderson. Knight's research led him to the theory that Robert Anderson was not a culprit, but rather Sickert. Knight published this theory in his 1976 book, Jack the Ripper: The Final Solution. Joseph Sickert revealed in 1978 that the story supposedly told by Walter was a hoax, but the theory still grew in popularity. The theory was again published in Jean Overton Fuller's 1990 book, Sickert and the Ripper Crimes, and Patricia Cornwell's 2002 book Portrait of a Killer. Cornwell used Jack the Ripper's Bedroom as evidence of her theory. In 2002, she infamously tore apart one of the Camden Town Murder paintings to retrieve Sickert's DNA. A 2019 article in Science stated that Cornwell's allegation that Sickert was the Ripper was based on a DNA analysis of letters that "many experts believe ... to be fake" and that "another genetic analysis of the letters claimed the murderer could have been a woman".Author Jennifer Dasal says the art world "by-and-large" has "scoffed at the assertion of Walter Sickert as Jack the Ripper". Baron calls the theory a "fantasy", and says "it is uncertain whether [Jack the Ripper's Bedroom] suggested the Jack the Ripper title to him, or vice versa". She says the theories "pay insufficient heed to the imperatives which motivated Sickert as a painter", and that his business in Camden Town was "of a painter in at a certain stage of technical development". Dasal says it's reminiscent of "those who willingly pay to stay in the Lizzie Borden Bed and Breakfast in Fall River, Massachusetts--the frisson of being connected to a killer, however loose, is a huge draw".

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: Explain the Theories regarding Sickert being Jack the Ripper about the Legacy of this artwork, Jack the Ripper's Bedroom.

The painting has been used as evidence of the controversial theory that Sickert was the culprit or associate of Jack the Ripper. The theory started when Joseph Sickert, Walter's son, told author Stephen Knight that Walter had told him the truth about the murders, and that they were carried about by William Gull, and aided by John Netley and Robert Anderson. Knight's research led him to the theory that Robert Anderson was not a culprit, but rather Sickert. Knight published this theory in his 1976 book, Jack the Ripper: The Final Solution. Joseph Sickert revealed in 1978 that the story supposedly told by Walter was a hoax, but the theory still grew in popularity. The theory was again published in Jean Overton Fuller's 1990 book, Sickert and the Ripper Crimes, and Patricia Cornwell's 2002 book Portrait of a Killer. Cornwell used Jack the Ripper's Bedroom as evidence of her theory. In 2002, she infamously tore apart one of the Camden Town Murder paintings to retrieve Sickert's DNA. A 2019 article in Science stated that Cornwell's allegation that Sickert was the Ripper was based on a DNA analysis of letters that "many experts believe ... to be fake" and that "another genetic analysis of the letters claimed the murderer could have been a woman".Author Jennifer Dasal says the art world "by-and-large" has "scoffed at the assertion of Walter Sickert as Jack the Ripper". Baron calls the theory a "fantasy", and says "it is uncertain whether [Jack the Ripper's Bedroom] suggested the Jack the Ripper title to him, or vice versa". She says the theories "pay insufficient heed to the imperatives which motivated Sickert as a painter", and that his business in Camden Town was "of a painter in at a certain stage of technical development". Dasal says it's reminiscent of "those who willingly pay to stay in the Lizzie Borden Bed and Breakfast in Fall River, Massachusetts--the frisson of being connected to a killer, however loose, is a huge draw".

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: In Jack the Ripper's Bedroom, how is the Theories regarding Sickert being Jack the Ripper of the Legacy explained?

The painting has been used as evidence of the controversial theory that Sickert was the culprit or associate of Jack the Ripper. The theory started when Joseph Sickert, Walter's son, told author Stephen Knight that Walter had told him the truth about the murders, and that they were carried about by William Gull, and aided by John Netley and Robert Anderson. Knight's research led him to the theory that Robert Anderson was not a culprit, but rather Sickert. Knight published this theory in his 1976 book, Jack the Ripper: The Final Solution. Joseph Sickert revealed in 1978 that the story supposedly told by Walter was a hoax, but the theory still grew in popularity. The theory was again published in Jean Overton Fuller's 1990 book, Sickert and the Ripper Crimes, and Patricia Cornwell's 2002 book Portrait of a Killer. Cornwell used Jack the Ripper's Bedroom as evidence of her theory. In 2002, she infamously tore apart one of the Camden Town Murder paintings to retrieve Sickert's DNA. A 2019 article in Science stated that Cornwell's allegation that Sickert was the Ripper was based on a DNA analysis of letters that "many experts believe ... to be fake" and that "another genetic analysis of the letters claimed the murderer could have been a woman".Author Jennifer Dasal says the art world "by-and-large" has "scoffed at the assertion of Walter Sickert as Jack the Ripper". Baron calls the theory a "fantasy", and says "it is uncertain whether [Jack the Ripper's Bedroom] suggested the Jack the Ripper title to him, or vice versa". She says the theories "pay insufficient heed to the imperatives which motivated Sickert as a painter", and that his business in Camden Town was "of a painter in at a certain stage of technical development". Dasal says it's reminiscent of "those who willingly pay to stay in the Lizzie Borden Bed and Breakfast in Fall River, Massachusetts--the frisson of being connected to a killer, however loose, is a huge draw".

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Jack the Ripper's Bedroom

Prompt: Describe the characteristics of the Theories regarding Sickert being Jack the Ripper in Jack the Ripper's Bedroom's Legacy.

The painting has been used as evidence of the controversial theory that Sickert was the culprit or associate of Jack the Ripper. The theory started when Joseph Sickert, Walter's son, told author Stephen Knight that Walter had told him the truth about the murders, and that they were carried about by William Gull, and aided by John Netley and Robert Anderson. Knight's research led him to the theory that Robert Anderson was not a culprit, but rather Sickert. Knight published this theory in his 1976 book, Jack the Ripper: The Final Solution. Joseph Sickert revealed in 1978 that the story supposedly told by Walter was a hoax, but the theory still grew in popularity. The theory was again published in Jean Overton Fuller's 1990 book, Sickert and the Ripper Crimes, and Patricia Cornwell's 2002 book Portrait of a Killer. Cornwell used Jack the Ripper's Bedroom as evidence of her theory. In 2002, she infamously tore apart one of the Camden Town Murder paintings to retrieve Sickert's DNA. A 2019 article in Science stated that Cornwell's allegation that Sickert was the Ripper was based on a DNA analysis of letters that "many experts believe ... to be fake" and that "another genetic analysis of the letters claimed the murderer could have been a woman".Author Jennifer Dasal says the art world "by-and-large" has "scoffed at the assertion of Walter Sickert as Jack the Ripper". Baron calls the theory a "fantasy", and says "it is uncertain whether [Jack the Ripper's Bedroom] suggested the Jack the Ripper title to him, or vice versa". She says the theories "pay insufficient heed to the imperatives which motivated Sickert as a painter", and that his business in Camden Town was "of a painter in at a certain stage of technical development". Dasal says it's reminiscent of "those who willingly pay to stay in the Lizzie Borden Bed and Breakfast in Fall River, Massachusetts--the frisson of being connected to a killer, however loose, is a huge draw".

File:Walter Sickert photo by George Charles Beresford 1911 (1).jpg

Robert Anderson (Scotland Yard official)

Category:Collection of Manchester Art Gallery

Category:Cultural depictions of Jack the Ripper


Electronic Poet

Prompt: Focus on Electronic Poet and explain the abstract.

Electronic Poet, also known as E.P. (Electronic Poet), is an outdoor 1984 sculpture by Keith Jellum, located above the sidewalk on Southwest Morrison Street, between 9th and 10th Avenues in downtown Portland, Oregon. The abstract piece is made of bronze and an LED light board which displays poems programmed in a loop. It is administered by the Regional Arts & Culture Council.

File:Electronic Poet, Portland (2014) - 2.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Electronic Poet

Prompt: Explain the abstract of this artwork, Electronic Poet.

Electronic Poet, also known as E.P. (Electronic Poet), is an outdoor 1984 sculpture by Keith Jellum, located above the sidewalk on Southwest Morrison Street, between 9th and 10th Avenues in downtown Portland, Oregon. The abstract piece is made of bronze and an LED light board which displays poems programmed in a loop. It is administered by the Regional Arts & Culture Council.

File:Electronic Poet, Portland (2014) - 2.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Electronic Poet

Prompt: How does Electronic Poet explain its abstract?

Electronic Poet, also known as E.P. (Electronic Poet), is an outdoor 1984 sculpture by Keith Jellum, located above the sidewalk on Southwest Morrison Street, between 9th and 10th Avenues in downtown Portland, Oregon. The abstract piece is made of bronze and an LED light board which displays poems programmed in a loop. It is administered by the Regional Arts & Culture Council.

File:Electronic Poet, Portland (2014) - 2.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Electronic Poet

Prompt: In Electronic Poet, how is the abstract discussed?

Electronic Poet, also known as E.P. (Electronic Poet), is an outdoor 1984 sculpture by Keith Jellum, located above the sidewalk on Southwest Morrison Street, between 9th and 10th Avenues in downtown Portland, Oregon. The abstract piece is made of bronze and an LED light board which displays poems programmed in a loop. It is administered by the Regional Arts & Culture Council.

File:Electronic Poet, Portland (2014) - 2.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Electronic Poet

Prompt: Focus on Electronic Poet and explain the Description.

The sculpture measures 10 inches (0.25 m) x 52 inches (1.3 m) x 20 inches (0.51 m) and is made of bronze and an LED light board. It displays curated collections of poems programmed in an "evolving" loop, intended to be rotated every six months. Selections of Jellum's favorite poems from around the world have featured American poets born before 1990, European, Native American and Northwestern poets, and Oregon place names, among others. The artist wanted to create "opportunities for moments of reflection within the urban landscape".The Smithsonian Institution categorizes the sculpture as abstract. Smithsonian lists the parking garage at the intersection of Southwest 10th and Yamhill as the work's owner, while 'cultureNOW' says it is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council. Electronic Poet was funded by the city's Percent for Art program and is administered by the Regional Arts & Culture Council.

File:Electronic Poet, Portland (2014) - 2.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon