Prompt: Explain the Legacy of this artwork, Willem van Heythuysen Posing with a Sword.

The painting served as inspiration to many, not just the poetry of Loosjes. Judith Leyster made a period copy, though she exchanged the rapier for a walking stick. Several people have posed in this stance in costume, most recently Kehinde Wiley who made a painting of a young black man in the same pose. In his 1989 catalog of the international Frans Hals exhibition Slive claimed it was previously incorrectly dated as 1635 but was actually painted 10 years earlier. The art historian Claus Grimm seemed to recognize that the drapery behind him looked similar to the iridescent dress of Hals' portrait of Aletta Hannemans, discussing these paintings after each other and placing them as painted in the same year. Possibly, as Heythuyzen was a cloth merchant, both were from workshops under his control and this portrait shows the source of his wealth as well as a romantic vision of himself as a bachelor. Because he is positioned facing left, we know that this is not a wedding pendant, as Hals always placed the woman on the right facing left. Heythuizen never married and died a bachelor.

Category:Collection of the Alte Pinakothek

File:Sir Edgar Vincent of Esher posing as a Frans Hals portrait of Willem van Heythuysen for Devonshire House Fancy Dress Ball 1897 page-84-copy.jpg

:Commons:Frans Hals catalog raisonné, 1989

:Commons:Frans Hals Exhibition catalog, 1989

File:Judith Leyster - Study of a standing man after the portrait of Willem van Heythuizen by Frans Hals.jpg


Prompt: How does Willem van Heythuysen Posing with a Sword explain its Legacy?

The painting served as inspiration to many, not just the poetry of Loosjes. Judith Leyster made a period copy, though she exchanged the rapier for a walking stick. Several people have posed in this stance in costume, most recently Kehinde Wiley who made a painting of a young black man in the same pose. In his 1989 catalog of the international Frans Hals exhibition Slive claimed it was previously incorrectly dated as 1635 but was actually painted 10 years earlier. The art historian Claus Grimm seemed to recognize that the drapery behind him looked similar to the iridescent dress of Hals' portrait of Aletta Hannemans, discussing these paintings after each other and placing them as painted in the same year. Possibly, as Heythuyzen was a cloth merchant, both were from workshops under his control and this portrait shows the source of his wealth as well as a romantic vision of himself as a bachelor. Because he is positioned facing left, we know that this is not a wedding pendant, as Hals always placed the woman on the right facing left. Heythuizen never married and died a bachelor.

Category:Collection of the Alte Pinakothek

File:Sir Edgar Vincent of Esher posing as a Frans Hals portrait of Willem van Heythuysen for Devonshire House Fancy Dress Ball 1897 page-84-copy.jpg

:Commons:Frans Hals catalog raisonné, 1989

:Commons:Frans Hals Exhibition catalog, 1989

File:Judith Leyster - Study of a standing man after the portrait of Willem van Heythuizen by Frans Hals.jpg


Prompt: In Willem van Heythuysen Posing with a Sword, how is the Legacy discussed?

The painting served as inspiration to many, not just the poetry of Loosjes. Judith Leyster made a period copy, though she exchanged the rapier for a walking stick. Several people have posed in this stance in costume, most recently Kehinde Wiley who made a painting of a young black man in the same pose. In his 1989 catalog of the international Frans Hals exhibition Slive claimed it was previously incorrectly dated as 1635 but was actually painted 10 years earlier. The art historian Claus Grimm seemed to recognize that the drapery behind him looked similar to the iridescent dress of Hals' portrait of Aletta Hannemans, discussing these paintings after each other and placing them as painted in the same year. Possibly, as Heythuyzen was a cloth merchant, both were from workshops under his control and this portrait shows the source of his wealth as well as a romantic vision of himself as a bachelor. Because he is positioned facing left, we know that this is not a wedding pendant, as Hals always placed the woman on the right facing left. Heythuizen never married and died a bachelor.

Category:Collection of the Alte Pinakothek

File:Sir Edgar Vincent of Esher posing as a Frans Hals portrait of Willem van Heythuysen for Devonshire House Fancy Dress Ball 1897 page-84-copy.jpg

:Commons:Frans Hals catalog raisonné, 1989

:Commons:Frans Hals Exhibition catalog, 1989

File:Judith Leyster - Study of a standing man after the portrait of Willem van Heythuizen by Frans Hals.jpg


(Untitled) Blue Lady

Prompt: Focus on (Untitled) Blue Lady and explain the abstract.

Untitled, more commonly referred to as The Blue Lady, 1999–2002, is a carved teakwood, metal, and indigo sculpture by Mumbai-based artist Navjot Altaf. The artwork represents a goddess of fertility and is painted bright blue, a traditional Hindu colour symbolizing divinity. The larger than life sculpture is also an illustration of the "challenges faced by women who try to claim recognition for their knowledge in parts of India." This contemporary South Asian work can be seen in the  Sir Christopher Ondaatje South Asian Gallery of The Royal Ontario Museum in Toronto, Ontario, Canada. Notably, the sculpture is listed as one of the ROM's iconic treasures and has been considered to be one of the most important pieces in the museum's collection of South Asian art.In 2003, (Untitled) The Blue Lady was exhibited at Talwar Gallery in New York City, which currently represents Altaf, in her first solo exhibition in the United States entitled In Response To.... The sculpture was installed alongside other human figures, similar in their monumental scale and brilliant indigo color, in what was an almost theatre-like setting; together, the solid, confident female figures became iconic presences, whose insistent physicality worked to "subvert...the narrative of patriarchal dominance and transcending the modes of art practices." The exhibition was instrumental in illuminating the gender-based concerns of Altaf's work, which questions the accepted language of eroticism, sexuality, and domesticity through the creation of figures, like (Untitled) The Blue Lady, of anomalous femininity.

Category:Collection of the Royal Ontario Museum


(Untitled) Blue Lady

Prompt: Explain the abstract of this artwork, (Untitled) Blue Lady.

Untitled, more commonly referred to as The Blue Lady, 1999–2002, is a carved teakwood, metal, and indigo sculpture by Mumbai-based artist Navjot Altaf. The artwork represents a goddess of fertility and is painted bright blue, a traditional Hindu colour symbolizing divinity. The larger than life sculpture is also an illustration of the "challenges faced by women who try to claim recognition for their knowledge in parts of India." This contemporary South Asian work can be seen in the  Sir Christopher Ondaatje South Asian Gallery of The Royal Ontario Museum in Toronto, Ontario, Canada. Notably, the sculpture is listed as one of the ROM's iconic treasures and has been considered to be one of the most important pieces in the museum's collection of South Asian art.In 2003, (Untitled) The Blue Lady was exhibited at Talwar Gallery in New York City, which currently represents Altaf, in her first solo exhibition in the United States entitled In Response To.... The sculpture was installed alongside other human figures, similar in their monumental scale and brilliant indigo color, in what was an almost theatre-like setting; together, the solid, confident female figures became iconic presences, whose insistent physicality worked to "subvert...the narrative of patriarchal dominance and transcending the modes of art practices." The exhibition was instrumental in illuminating the gender-based concerns of Altaf's work, which questions the accepted language of eroticism, sexuality, and domesticity through the creation of figures, like (Untitled) The Blue Lady, of anomalous femininity.

Category:Collection of the Royal Ontario Museum


(Untitled) Blue Lady

Prompt: How does (Untitled) Blue Lady explain its abstract?

Untitled, more commonly referred to as The Blue Lady, 1999–2002, is a carved teakwood, metal, and indigo sculpture by Mumbai-based artist Navjot Altaf. The artwork represents a goddess of fertility and is painted bright blue, a traditional Hindu colour symbolizing divinity. The larger than life sculpture is also an illustration of the "challenges faced by women who try to claim recognition for their knowledge in parts of India." This contemporary South Asian work can be seen in the  Sir Christopher Ondaatje South Asian Gallery of The Royal Ontario Museum in Toronto, Ontario, Canada. Notably, the sculpture is listed as one of the ROM's iconic treasures and has been considered to be one of the most important pieces in the museum's collection of South Asian art.In 2003, (Untitled) The Blue Lady was exhibited at Talwar Gallery in New York City, which currently represents Altaf, in her first solo exhibition in the United States entitled In Response To.... The sculpture was installed alongside other human figures, similar in their monumental scale and brilliant indigo color, in what was an almost theatre-like setting; together, the solid, confident female figures became iconic presences, whose insistent physicality worked to "subvert...the narrative of patriarchal dominance and transcending the modes of art practices." The exhibition was instrumental in illuminating the gender-based concerns of Altaf's work, which questions the accepted language of eroticism, sexuality, and domesticity through the creation of figures, like (Untitled) The Blue Lady, of anomalous femininity.

Category:Collection of the Royal Ontario Museum


(Untitled) Blue Lady

Prompt: In (Untitled) Blue Lady, how is the abstract discussed?

Untitled, more commonly referred to as The Blue Lady, 1999–2002, is a carved teakwood, metal, and indigo sculpture by Mumbai-based artist Navjot Altaf. The artwork represents a goddess of fertility and is painted bright blue, a traditional Hindu colour symbolizing divinity. The larger than life sculpture is also an illustration of the "challenges faced by women who try to claim recognition for their knowledge in parts of India." This contemporary South Asian work can be seen in the  Sir Christopher Ondaatje South Asian Gallery of The Royal Ontario Museum in Toronto, Ontario, Canada. Notably, the sculpture is listed as one of the ROM's iconic treasures and has been considered to be one of the most important pieces in the museum's collection of South Asian art.In 2003, (Untitled) The Blue Lady was exhibited at Talwar Gallery in New York City, which currently represents Altaf, in her first solo exhibition in the United States entitled In Response To.... The sculpture was installed alongside other human figures, similar in their monumental scale and brilliant indigo color, in what was an almost theatre-like setting; together, the solid, confident female figures became iconic presences, whose insistent physicality worked to "subvert...the narrative of patriarchal dominance and transcending the modes of art practices." The exhibition was instrumental in illuminating the gender-based concerns of Altaf's work, which questions the accepted language of eroticism, sexuality, and domesticity through the creation of figures, like (Untitled) The Blue Lady, of anomalous femininity.

Category:Collection of the Royal Ontario Museum


(Untitled) Blue Lady

Prompt: Focus on (Untitled) Blue Lady and explain the Description.

The sculpture explores contrasting ideas in South Asian culture while providing a contemporary take on traditional South Asian art. The wood from which the statue is crafted, along with the indigo blue colour that it is painted, are symbolic nods to the handicraft industries of South Asia. The buxom female form is also seen readily in historical South Asian arts. Through the combination of the handcrafted and industrial, the past and present are brought together and contrasted without a recognizable resolution.Among the influences cited for this sculpture are, "village witch-trials, fertility goddesses, and the indigo trade." The sculpture is also referred to as "Kunti", after a woman in the Adivasi community in Bastar, India that was part of Altaf's inspiration for the artwork.  In this case, the woman was declared a witch and put on display to be humiliated in public. Altaf describes this real-life woman, Kunti, as a normal, confident woman, who was dehumanized for possessing knowledge.Altaf started off by drawing the figure, then used clay to model it. The final sculpture, based on the clay model, is carved out of teakwood. Since it was not possible to carve the entire sculpture from one piece of wood, Altaf carved the torso and head as one piece, while the arms and legs have been carved separately. The body of the sculpture is not clothed, but bare. Her hands are stretched in mudra; one fist clenched, thumb outside fist, and the other hand open.  This symbolizes that she has knowledge in the grasped hand, and has the ability to receive more, while also dispersing information with the other open hand. The Blue Lady sits atop a vintage bottle drying rack; the inspiration for which Altaf drew from artist Marcel Duchamp's readymades, specifically his first readymade, the bottle drying rack.

Category:Collection of the Royal Ontario Museum


(Untitled) Blue Lady

Prompt: Explain the Description of this artwork, (Untitled) Blue Lady.

The sculpture explores contrasting ideas in South Asian culture while providing a contemporary take on traditional South Asian art. The wood from which the statue is crafted, along with the indigo blue colour that it is painted, are symbolic nods to the handicraft industries of South Asia. The buxom female form is also seen readily in historical South Asian arts. Through the combination of the handcrafted and industrial, the past and present are brought together and contrasted without a recognizable resolution.Among the influences cited for this sculpture are, "village witch-trials, fertility goddesses, and the indigo trade." The sculpture is also referred to as "Kunti", after a woman in the Adivasi community in Bastar, India that was part of Altaf's inspiration for the artwork.  In this case, the woman was declared a witch and put on display to be humiliated in public. Altaf describes this real-life woman, Kunti, as a normal, confident woman, who was dehumanized for possessing knowledge.Altaf started off by drawing the figure, then used clay to model it. The final sculpture, based on the clay model, is carved out of teakwood. Since it was not possible to carve the entire sculpture from one piece of wood, Altaf carved the torso and head as one piece, while the arms and legs have been carved separately. The body of the sculpture is not clothed, but bare. Her hands are stretched in mudra; one fist clenched, thumb outside fist, and the other hand open.  This symbolizes that she has knowledge in the grasped hand, and has the ability to receive more, while also dispersing information with the other open hand. The Blue Lady sits atop a vintage bottle drying rack; the inspiration for which Altaf drew from artist Marcel Duchamp's readymades, specifically his first readymade, the bottle drying rack.

Category:Collection of the Royal Ontario Museum


(Untitled) Blue Lady

Prompt: How does (Untitled) Blue Lady explain its Description?

The sculpture explores contrasting ideas in South Asian culture while providing a contemporary take on traditional South Asian art. The wood from which the statue is crafted, along with the indigo blue colour that it is painted, are symbolic nods to the handicraft industries of South Asia. The buxom female form is also seen readily in historical South Asian arts. Through the combination of the handcrafted and industrial, the past and present are brought together and contrasted without a recognizable resolution.Among the influences cited for this sculpture are, "village witch-trials, fertility goddesses, and the indigo trade." The sculpture is also referred to as "Kunti", after a woman in the Adivasi community in Bastar, India that was part of Altaf's inspiration for the artwork.  In this case, the woman was declared a witch and put on display to be humiliated in public. Altaf describes this real-life woman, Kunti, as a normal, confident woman, who was dehumanized for possessing knowledge.Altaf started off by drawing the figure, then used clay to model it. The final sculpture, based on the clay model, is carved out of teakwood. Since it was not possible to carve the entire sculpture from one piece of wood, Altaf carved the torso and head as one piece, while the arms and legs have been carved separately. The body of the sculpture is not clothed, but bare. Her hands are stretched in mudra; one fist clenched, thumb outside fist, and the other hand open.  This symbolizes that she has knowledge in the grasped hand, and has the ability to receive more, while also dispersing information with the other open hand. The Blue Lady sits atop a vintage bottle drying rack; the inspiration for which Altaf drew from artist Marcel Duchamp's readymades, specifically his first readymade, the bottle drying rack.

Category:Collection of the Royal Ontario Museum


(Untitled) Blue Lady

Prompt: In (Untitled) Blue Lady, how is the Description discussed?

The sculpture explores contrasting ideas in South Asian culture while providing a contemporary take on traditional South Asian art. The wood from which the statue is crafted, along with the indigo blue colour that it is painted, are symbolic nods to the handicraft industries of South Asia. The buxom female form is also seen readily in historical South Asian arts. Through the combination of the handcrafted and industrial, the past and present are brought together and contrasted without a recognizable resolution.Among the influences cited for this sculpture are, "village witch-trials, fertility goddesses, and the indigo trade." The sculpture is also referred to as "Kunti", after a woman in the Adivasi community in Bastar, India that was part of Altaf's inspiration for the artwork.  In this case, the woman was declared a witch and put on display to be humiliated in public. Altaf describes this real-life woman, Kunti, as a normal, confident woman, who was dehumanized for possessing knowledge.Altaf started off by drawing the figure, then used clay to model it. The final sculpture, based on the clay model, is carved out of teakwood. Since it was not possible to carve the entire sculpture from one piece of wood, Altaf carved the torso and head as one piece, while the arms and legs have been carved separately. The body of the sculpture is not clothed, but bare. Her hands are stretched in mudra; one fist clenched, thumb outside fist, and the other hand open.  This symbolizes that she has knowledge in the grasped hand, and has the ability to receive more, while also dispersing information with the other open hand. The Blue Lady sits atop a vintage bottle drying rack; the inspiration for which Altaf drew from artist Marcel Duchamp's readymades, specifically his first readymade, the bottle drying rack.

Category:Collection of the Royal Ontario Museum


Cadillac Moon

Prompt: Focus on Cadillac Moon and explain the abstract.

Cadillac Moon is a painting created by American artist Jean-Michel Basquiat in 1981. It is notable for being the first purchased Basquiat painting; bought by singer Debbie Harry for $200.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Cadillac Moon

Prompt: Explain the abstract of this artwork, Cadillac Moon.

Cadillac Moon is a painting created by American artist Jean-Michel Basquiat in 1981. It is notable for being the first purchased Basquiat painting; bought by singer Debbie Harry for $200.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Cadillac Moon

Prompt: How does Cadillac Moon explain its abstract?

Cadillac Moon is a painting created by American artist Jean-Michel Basquiat in 1981. It is notable for being the first purchased Basquiat painting; bought by singer Debbie Harry for $200.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Cadillac Moon

Prompt: In Cadillac Moon, how is the abstract discussed?

Cadillac Moon is a painting created by American artist Jean-Michel Basquiat in 1981. It is notable for being the first purchased Basquiat painting; bought by singer Debbie Harry for $200.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Cadillac Moon

Prompt: Focus on Cadillac Moon and explain the History.

The urban landscape was a recurring theme in Basquiat's work. Born in Brooklyn, New York, Basquiat began writing graffiti under the pseudonym SAMO in 1978. In 1979, he formed the band Gray with Michael Holman. In June 1980, Basquiat participated in The Times Square Show and his career as an artist began to take off. In late 1980, Basquiat began filming New York Beat (later renamed Downtown 81) directed by Edo Bertoglio and written and produced by Glenn O'Brien. His character paralleled his own life, a painter and musician trying to start a career. The film production crew bought Basquiat canvas and paint to make paintings for the film. The paintings that appear in the movie belonging to his character are by Basquiat himself, and are among his first canvases. After filming ended in 1981, Basquiat's co-star Debbie Harry of Blondie purchased his first painting Cadillac Moon for $200. Basquiat also appeared in Blondie's music video for "Rapture." Cadillac Moon "staples of Basquiat’s mature work, covered in frenetic, childlike drawings and repetitive, almost prayer-like words and phrases." The painting depicts a stack of television sets on the right of the canvas with a single face on each screen, two cars—one Cadillac in the upper left corner. The letter A is repeated across the right of the canvas. On the bottom, Basquiat crossed out his SAMO© signature, then alluded to African-American baseball player Hank Aaron and the signed JEAN MICHEL BASQUIAT 1981. During this period, he made the transition from street artist to a gallery artist. His first one-person exhibition, held in Modena, Italy (May 23 – June 20, 1981), was named SAMO.Cadillac Moon was part of Basquiat's first European retrospective, Basquiat, in celebration of the 50th anniversary of his birth in 2010. The exhibit originated at the Fondation Beyeler in Basel, Switzerland and traveled to Paris afterward. While on display at the Musée d'Art Moderne de la Ville de Paris in November 2010, the painting attracted media attention when it was realized that it had been vandalized. Photographs revealed that slight marks made with a felt-tip pen were present while the work was on display in Basel."Cadillac Moon" is also the name of a song by New York based band Mink DeVille.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Cadillac Moon

Prompt: Explain the History of this artwork, Cadillac Moon.

The urban landscape was a recurring theme in Basquiat's work. Born in Brooklyn, New York, Basquiat began writing graffiti under the pseudonym SAMO in 1978. In 1979, he formed the band Gray with Michael Holman. In June 1980, Basquiat participated in The Times Square Show and his career as an artist began to take off. In late 1980, Basquiat began filming New York Beat (later renamed Downtown 81) directed by Edo Bertoglio and written and produced by Glenn O'Brien. His character paralleled his own life, a painter and musician trying to start a career. The film production crew bought Basquiat canvas and paint to make paintings for the film. The paintings that appear in the movie belonging to his character are by Basquiat himself, and are among his first canvases. After filming ended in 1981, Basquiat's co-star Debbie Harry of Blondie purchased his first painting Cadillac Moon for $200. Basquiat also appeared in Blondie's music video for "Rapture." Cadillac Moon "staples of Basquiat’s mature work, covered in frenetic, childlike drawings and repetitive, almost prayer-like words and phrases." The painting depicts a stack of television sets on the right of the canvas with a single face on each screen, two cars—one Cadillac in the upper left corner. The letter A is repeated across the right of the canvas. On the bottom, Basquiat crossed out his SAMO© signature, then alluded to African-American baseball player Hank Aaron and the signed JEAN MICHEL BASQUIAT 1981. During this period, he made the transition from street artist to a gallery artist. His first one-person exhibition, held in Modena, Italy (May 23 – June 20, 1981), was named SAMO.Cadillac Moon was part of Basquiat's first European retrospective, Basquiat, in celebration of the 50th anniversary of his birth in 2010. The exhibit originated at the Fondation Beyeler in Basel, Switzerland and traveled to Paris afterward. While on display at the Musée d'Art Moderne de la Ville de Paris in November 2010, the painting attracted media attention when it was realized that it had been vandalized. Photographs revealed that slight marks made with a felt-tip pen were present while the work was on display in Basel."Cadillac Moon" is also the name of a song by New York based band Mink DeVille.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Cadillac Moon

Prompt: How does Cadillac Moon explain its History?

The urban landscape was a recurring theme in Basquiat's work. Born in Brooklyn, New York, Basquiat began writing graffiti under the pseudonym SAMO in 1978. In 1979, he formed the band Gray with Michael Holman. In June 1980, Basquiat participated in The Times Square Show and his career as an artist began to take off. In late 1980, Basquiat began filming New York Beat (later renamed Downtown 81) directed by Edo Bertoglio and written and produced by Glenn O'Brien. His character paralleled his own life, a painter and musician trying to start a career. The film production crew bought Basquiat canvas and paint to make paintings for the film. The paintings that appear in the movie belonging to his character are by Basquiat himself, and are among his first canvases. After filming ended in 1981, Basquiat's co-star Debbie Harry of Blondie purchased his first painting Cadillac Moon for $200. Basquiat also appeared in Blondie's music video for "Rapture." Cadillac Moon "staples of Basquiat’s mature work, covered in frenetic, childlike drawings and repetitive, almost prayer-like words and phrases." The painting depicts a stack of television sets on the right of the canvas with a single face on each screen, two cars—one Cadillac in the upper left corner. The letter A is repeated across the right of the canvas. On the bottom, Basquiat crossed out his SAMO© signature, then alluded to African-American baseball player Hank Aaron and the signed JEAN MICHEL BASQUIAT 1981. During this period, he made the transition from street artist to a gallery artist. His first one-person exhibition, held in Modena, Italy (May 23 – June 20, 1981), was named SAMO.Cadillac Moon was part of Basquiat's first European retrospective, Basquiat, in celebration of the 50th anniversary of his birth in 2010. The exhibit originated at the Fondation Beyeler in Basel, Switzerland and traveled to Paris afterward. While on display at the Musée d'Art Moderne de la Ville de Paris in November 2010, the painting attracted media attention when it was realized that it had been vandalized. Photographs revealed that slight marks made with a felt-tip pen were present while the work was on display in Basel."Cadillac Moon" is also the name of a song by New York based band Mink DeVille.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Cadillac Moon

Prompt: In Cadillac Moon, how is the History discussed?

The urban landscape was a recurring theme in Basquiat's work. Born in Brooklyn, New York, Basquiat began writing graffiti under the pseudonym SAMO in 1978. In 1979, he formed the band Gray with Michael Holman. In June 1980, Basquiat participated in The Times Square Show and his career as an artist began to take off. In late 1980, Basquiat began filming New York Beat (later renamed Downtown 81) directed by Edo Bertoglio and written and produced by Glenn O'Brien. His character paralleled his own life, a painter and musician trying to start a career. The film production crew bought Basquiat canvas and paint to make paintings for the film. The paintings that appear in the movie belonging to his character are by Basquiat himself, and are among his first canvases. After filming ended in 1981, Basquiat's co-star Debbie Harry of Blondie purchased his first painting Cadillac Moon for $200. Basquiat also appeared in Blondie's music video for "Rapture." Cadillac Moon "staples of Basquiat’s mature work, covered in frenetic, childlike drawings and repetitive, almost prayer-like words and phrases." The painting depicts a stack of television sets on the right of the canvas with a single face on each screen, two cars—one Cadillac in the upper left corner. The letter A is repeated across the right of the canvas. On the bottom, Basquiat crossed out his SAMO© signature, then alluded to African-American baseball player Hank Aaron and the signed JEAN MICHEL BASQUIAT 1981. During this period, he made the transition from street artist to a gallery artist. His first one-person exhibition, held in Modena, Italy (May 23 – June 20, 1981), was named SAMO.Cadillac Moon was part of Basquiat's first European retrospective, Basquiat, in celebration of the 50th anniversary of his birth in 2010. The exhibit originated at the Fondation Beyeler in Basel, Switzerland and traveled to Paris afterward. While on display at the Musée d'Art Moderne de la Ville de Paris in November 2010, the painting attracted media attention when it was realized that it had been vandalized. Photographs revealed that slight marks made with a felt-tip pen were present while the work was on display in Basel."Cadillac Moon" is also the name of a song by New York based band Mink DeVille.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


The Birth of Venus (Fragonard)

Prompt: Focus on The Birth of Venus (Fragonard) and explain the abstract.

The Birth of Venus (French: La Naissance de Vénus) is an oil-on-canvas painting by the French Rococo painter Jean-Honoré Fragonard, produced between 1753 and 1755. It is held by the Musée Grobet-Labadié in Marseille.A sketch for the painting is in the Smith College Museum of Art. In the sketch, Fragonard used a mix of red chalk and other media to study the composition before transferring it onto canvas. The Birth of Venus and its sketch are an example of Fragonard's habit of reversing scene direction and changing figure positions in order to achieve an ideal composition.Fragonard was inspired by François Boucher's The Triumph of Venus when he created this painting (Boucher was Fragonard's teacher).

Category:Paintings by Jean-Honoré Fragonard


The Birth of Venus (Fragonard)

Prompt: Explain the abstract of this artwork, The Birth of Venus (Fragonard).

The Birth of Venus (French: La Naissance de Vénus) is an oil-on-canvas painting by the French Rococo painter Jean-Honoré Fragonard, produced between 1753 and 1755. It is held by the Musée Grobet-Labadié in Marseille.A sketch for the painting is in the Smith College Museum of Art. In the sketch, Fragonard used a mix of red chalk and other media to study the composition before transferring it onto canvas. The Birth of Venus and its sketch are an example of Fragonard's habit of reversing scene direction and changing figure positions in order to achieve an ideal composition.Fragonard was inspired by François Boucher's The Triumph of Venus when he created this painting (Boucher was Fragonard's teacher).

Category:Paintings by Jean-Honoré Fragonard


The Birth of Venus (Fragonard)

Prompt: How does The Birth of Venus (Fragonard) explain its abstract?

The Birth of Venus (French: La Naissance de Vénus) is an oil-on-canvas painting by the French Rococo painter Jean-Honoré Fragonard, produced between 1753 and 1755. It is held by the Musée Grobet-Labadié in Marseille.A sketch for the painting is in the Smith College Museum of Art. In the sketch, Fragonard used a mix of red chalk and other media to study the composition before transferring it onto canvas. The Birth of Venus and its sketch are an example of Fragonard's habit of reversing scene direction and changing figure positions in order to achieve an ideal composition.Fragonard was inspired by François Boucher's The Triumph of Venus when he created this painting (Boucher was Fragonard's teacher).

Category:Paintings by Jean-Honoré Fragonard


The Birth of Venus (Fragonard)

Prompt: In The Birth of Venus (Fragonard), how is the abstract discussed?

The Birth of Venus (French: La Naissance de Vénus) is an oil-on-canvas painting by the French Rococo painter Jean-Honoré Fragonard, produced between 1753 and 1755. It is held by the Musée Grobet-Labadié in Marseille.A sketch for the painting is in the Smith College Museum of Art. In the sketch, Fragonard used a mix of red chalk and other media to study the composition before transferring it onto canvas. The Birth of Venus and its sketch are an example of Fragonard's habit of reversing scene direction and changing figure positions in order to achieve an ideal composition.Fragonard was inspired by François Boucher's The Triumph of Venus when he created this painting (Boucher was Fragonard's teacher).

Category:Paintings by Jean-Honoré Fragonard


The Punishment of Lust

Prompt: Focus on The Punishment of Lust and explain the abstract.

The Punishment of Lust (Italian: La Punizione della Lussuria), also called The Punishment of Luxury, is an 1891 oil painting on canvas by the artist Giovanni Segantini.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


The Punishment of Lust

Prompt: Explain the abstract of this artwork, The Punishment of Lust.

The Punishment of Lust (Italian: La Punizione della Lussuria), also called The Punishment of Luxury, is an 1891 oil painting on canvas by the artist Giovanni Segantini.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


The Punishment of Lust

Prompt: How does The Punishment of Lust explain its abstract?

The Punishment of Lust (Italian: La Punizione della Lussuria), also called The Punishment of Luxury, is an 1891 oil painting on canvas by the artist Giovanni Segantini.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


The Punishment of Lust

Prompt: In The Punishment of Lust, how is the abstract discussed?

The Punishment of Lust (Italian: La Punizione della Lussuria), also called The Punishment of Luxury, is an 1891 oil painting on canvas by the artist Giovanni Segantini.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


The Punishment of Lust

Prompt: Focus on The Punishment of Lust and explain the Background.

Giovanni Segantini was born in the County of Tyrol in the Austro-Hungarian Empire, but his parents died when he was still young and he went to live with his step-sister Irene in Milan. Hoping that she and Giovanni could become Italian citizens, Irene revoked their Austrian citizenship, but for some reason failed to apply for Italian citizenship, leaving the pair stateless. Giovanni soon ran away and after a time living on the streets was sent to a reformatory, where he was encouraged to take up art.During 1873, his half-brother Napoleon took him in and put him to work in his photographic studio. He worked as a decorative artist and studied at Accademia di Belle Arti di Brera in Milan and had some success as a painter, but eventually grew tired of the strictures of the academy and relocated with his family to Brianza in the foothills of the Alps where he adopted a more naturalistic approach, capturing the landscapes and daily lives of the workers.A visit from the art dealer and critic Vittore Grubicy, who had discovered and promoted Segantini, around the end of 1886 or beginning of 1887 with news of the latest developments in painting sparked Segantini's interest in Symbolism and Divisionism; from that point on he began to produce more allegorical studies, often set in the bleak, snowy, clearly lit landscapes of the Alps.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


The Punishment of Lust

Prompt: Explain the Background of this artwork, The Punishment of Lust.

Giovanni Segantini was born in the County of Tyrol in the Austro-Hungarian Empire, but his parents died when he was still young and he went to live with his step-sister Irene in Milan. Hoping that she and Giovanni could become Italian citizens, Irene revoked their Austrian citizenship, but for some reason failed to apply for Italian citizenship, leaving the pair stateless. Giovanni soon ran away and after a time living on the streets was sent to a reformatory, where he was encouraged to take up art.During 1873, his half-brother Napoleon took him in and put him to work in his photographic studio. He worked as a decorative artist and studied at Accademia di Belle Arti di Brera in Milan and had some success as a painter, but eventually grew tired of the strictures of the academy and relocated with his family to Brianza in the foothills of the Alps where he adopted a more naturalistic approach, capturing the landscapes and daily lives of the workers.A visit from the art dealer and critic Vittore Grubicy, who had discovered and promoted Segantini, around the end of 1886 or beginning of 1887 with news of the latest developments in painting sparked Segantini's interest in Symbolism and Divisionism; from that point on he began to produce more allegorical studies, often set in the bleak, snowy, clearly lit landscapes of the Alps.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


The Punishment of Lust

Prompt: How does The Punishment of Lust explain its Background?

Giovanni Segantini was born in the County of Tyrol in the Austro-Hungarian Empire, but his parents died when he was still young and he went to live with his step-sister Irene in Milan. Hoping that she and Giovanni could become Italian citizens, Irene revoked their Austrian citizenship, but for some reason failed to apply for Italian citizenship, leaving the pair stateless. Giovanni soon ran away and after a time living on the streets was sent to a reformatory, where he was encouraged to take up art.During 1873, his half-brother Napoleon took him in and put him to work in his photographic studio. He worked as a decorative artist and studied at Accademia di Belle Arti di Brera in Milan and had some success as a painter, but eventually grew tired of the strictures of the academy and relocated with his family to Brianza in the foothills of the Alps where he adopted a more naturalistic approach, capturing the landscapes and daily lives of the workers.A visit from the art dealer and critic Vittore Grubicy, who had discovered and promoted Segantini, around the end of 1886 or beginning of 1887 with news of the latest developments in painting sparked Segantini's interest in Symbolism and Divisionism; from that point on he began to produce more allegorical studies, often set in the bleak, snowy, clearly lit landscapes of the Alps.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


The Punishment of Lust

Prompt: In The Punishment of Lust, how is the Background discussed?

Giovanni Segantini was born in the County of Tyrol in the Austro-Hungarian Empire, but his parents died when he was still young and he went to live with his step-sister Irene in Milan. Hoping that she and Giovanni could become Italian citizens, Irene revoked their Austrian citizenship, but for some reason failed to apply for Italian citizenship, leaving the pair stateless. Giovanni soon ran away and after a time living on the streets was sent to a reformatory, where he was encouraged to take up art.During 1873, his half-brother Napoleon took him in and put him to work in his photographic studio. He worked as a decorative artist and studied at Accademia di Belle Arti di Brera in Milan and had some success as a painter, but eventually grew tired of the strictures of the academy and relocated with his family to Brianza in the foothills of the Alps where he adopted a more naturalistic approach, capturing the landscapes and daily lives of the workers.A visit from the art dealer and critic Vittore Grubicy, who had discovered and promoted Segantini, around the end of 1886 or beginning of 1887 with news of the latest developments in painting sparked Segantini's interest in Symbolism and Divisionism; from that point on he began to produce more allegorical studies, often set in the bleak, snowy, clearly lit landscapes of the Alps.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


The Punishment of Lust

Prompt: Focus on The Punishment of Lust and explain the Painting.

Segantini painted The Punishment of Lust in 1891; it was an early entry in a thematic series on cattive madri (bad mothers) that he produced between 1891 and 1896 (the Nirvana cycle), also featuring The Bad Mothers. Taking its inspiration from Nirvana published in 1889 – supposedly a translation from the 12th-century Indian Panghiavahli of Maironpada by the librettist Luigi Illica but probably written by him or translated from an intermediate work – it shows women being punished for preferring a life of ease over a life of duty by being suspended among the barren landscape of the Alps.Segantini had been raised a Catholic and believed strongly that the role of a woman was to be a mother; the Nirvana cycle illustrates the outcome for women who failed in that role and contrasts with Segantini's Angel cycle, produced over the same period, that depicts the reward derived from being a good mother. Segantini's longing for the mother who had died when he was a child coupled with his resentment at losing her may be reflected in this dichotomous approach to the theme of motherhood.The women in The Punishment of Lust are suggested to have aborted or lost their children, and although this would have been a sin in Segantini's eyes, he has still treated them sympathetically and, as the poem Nirvana does, hints that they could be redeemed; they are suspended in a dream-like state and, though stark, the landscape is not unpleasant –  Segantini regarded the mountains as his spiritual home – and the inclusion of withered trees symbolises a possible return to life in a new spring.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


The Punishment of Lust

Prompt: Explain the Painting of this artwork, The Punishment of Lust.

Segantini painted The Punishment of Lust in 1891; it was an early entry in a thematic series on cattive madri (bad mothers) that he produced between 1891 and 1896 (the Nirvana cycle), also featuring The Bad Mothers. Taking its inspiration from Nirvana published in 1889 – supposedly a translation from the 12th-century Indian Panghiavahli of Maironpada by the librettist Luigi Illica but probably written by him or translated from an intermediate work – it shows women being punished for preferring a life of ease over a life of duty by being suspended among the barren landscape of the Alps.Segantini had been raised a Catholic and believed strongly that the role of a woman was to be a mother; the Nirvana cycle illustrates the outcome for women who failed in that role and contrasts with Segantini's Angel cycle, produced over the same period, that depicts the reward derived from being a good mother. Segantini's longing for the mother who had died when he was a child coupled with his resentment at losing her may be reflected in this dichotomous approach to the theme of motherhood.The women in The Punishment of Lust are suggested to have aborted or lost their children, and although this would have been a sin in Segantini's eyes, he has still treated them sympathetically and, as the poem Nirvana does, hints that they could be redeemed; they are suspended in a dream-like state and, though stark, the landscape is not unpleasant –  Segantini regarded the mountains as his spiritual home – and the inclusion of withered trees symbolises a possible return to life in a new spring.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


The Punishment of Lust

Prompt: How does The Punishment of Lust explain its Painting?

Segantini painted The Punishment of Lust in 1891; it was an early entry in a thematic series on cattive madri (bad mothers) that he produced between 1891 and 1896 (the Nirvana cycle), also featuring The Bad Mothers. Taking its inspiration from Nirvana published in 1889 – supposedly a translation from the 12th-century Indian Panghiavahli of Maironpada by the librettist Luigi Illica but probably written by him or translated from an intermediate work – it shows women being punished for preferring a life of ease over a life of duty by being suspended among the barren landscape of the Alps.Segantini had been raised a Catholic and believed strongly that the role of a woman was to be a mother; the Nirvana cycle illustrates the outcome for women who failed in that role and contrasts with Segantini's Angel cycle, produced over the same period, that depicts the reward derived from being a good mother. Segantini's longing for the mother who had died when he was a child coupled with his resentment at losing her may be reflected in this dichotomous approach to the theme of motherhood.The women in The Punishment of Lust are suggested to have aborted or lost their children, and although this would have been a sin in Segantini's eyes, he has still treated them sympathetically and, as the poem Nirvana does, hints that they could be redeemed; they are suspended in a dream-like state and, though stark, the landscape is not unpleasant –  Segantini regarded the mountains as his spiritual home – and the inclusion of withered trees symbolises a possible return to life in a new spring.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


The Punishment of Lust

Prompt: In The Punishment of Lust, how is the Painting discussed?

Segantini painted The Punishment of Lust in 1891; it was an early entry in a thematic series on cattive madri (bad mothers) that he produced between 1891 and 1896 (the Nirvana cycle), also featuring The Bad Mothers. Taking its inspiration from Nirvana published in 1889 – supposedly a translation from the 12th-century Indian Panghiavahli of Maironpada by the librettist Luigi Illica but probably written by him or translated from an intermediate work – it shows women being punished for preferring a life of ease over a life of duty by being suspended among the barren landscape of the Alps.Segantini had been raised a Catholic and believed strongly that the role of a woman was to be a mother; the Nirvana cycle illustrates the outcome for women who failed in that role and contrasts with Segantini's Angel cycle, produced over the same period, that depicts the reward derived from being a good mother. Segantini's longing for the mother who had died when he was a child coupled with his resentment at losing her may be reflected in this dichotomous approach to the theme of motherhood.The women in The Punishment of Lust are suggested to have aborted or lost their children, and although this would have been a sin in Segantini's eyes, he has still treated them sympathetically and, as the poem Nirvana does, hints that they could be redeemed; they are suspended in a dream-like state and, though stark, the landscape is not unpleasant –  Segantini regarded the mountains as his spiritual home – and the inclusion of withered trees symbolises a possible return to life in a new spring.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


The Punishment of Lust

Prompt: Focus on The Punishment of Lust and explain the History.

The painting was purchased by the Walker Art Gallery in Liverpool in 1893, but before it was exhibited it was retitled The Punishment of Luxury (Luxury being an archaic translation of the Italian lussuria) as the mention of "Lust" was thought to be too challenging for a Victorian public.The British band Orchestral Manoeuvres in the Dark named their 13th studio album The Punishment of Luxury as a play on the title of Segantini's canvas.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


The Punishment of Lust

Prompt: Explain the History of this artwork, The Punishment of Lust.

The painting was purchased by the Walker Art Gallery in Liverpool in 1893, but before it was exhibited it was retitled The Punishment of Luxury (Luxury being an archaic translation of the Italian lussuria) as the mention of "Lust" was thought to be too challenging for a Victorian public.The British band Orchestral Manoeuvres in the Dark named their 13th studio album The Punishment of Luxury as a play on the title of Segantini's canvas.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


The Punishment of Lust

Prompt: How does The Punishment of Lust explain its History?

The painting was purchased by the Walker Art Gallery in Liverpool in 1893, but before it was exhibited it was retitled The Punishment of Luxury (Luxury being an archaic translation of the Italian lussuria) as the mention of "Lust" was thought to be too challenging for a Victorian public.The British band Orchestral Manoeuvres in the Dark named their 13th studio album The Punishment of Luxury as a play on the title of Segantini's canvas.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


The Punishment of Lust

Prompt: In The Punishment of Lust, how is the History discussed?

The painting was purchased by the Walker Art Gallery in Liverpool in 1893, but before it was exhibited it was retitled The Punishment of Luxury (Luxury being an archaic translation of the Italian lussuria) as the mention of "Lust" was thought to be too challenging for a Victorian public.The British band Orchestral Manoeuvres in the Dark named their 13th studio album The Punishment of Luxury as a play on the title of Segantini's canvas.

Category:Paintings in the Walker Art Gallery

Category:Paintings by Giovanni Segantini


Statue of Isabella I of Castile

Prompt: Focus on Statue of Isabella I of Castile and explain the abstract.

Queen Isabella, also known as Queen Isabella (1451–1504), is an outdoor sculpture of Isabella I of Castile, installed outside the Pan American Union Building of the Organization of American States at 17th Street and Constitution Avenue NW in Washington, D.C., in the United States.

Category:Monuments and memorials in Washington, D.C.

Category:Statues of Isabella I of Castile

Category:Sculptures of women in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials to women


Statue of Isabella I of Castile

Prompt: Explain the abstract of this artwork, Statue of Isabella I of Castile.

Queen Isabella, also known as Queen Isabella (1451–1504), is an outdoor sculpture of Isabella I of Castile, installed outside the Pan American Union Building of the Organization of American States at 17th Street and Constitution Avenue NW in Washington, D.C., in the United States.

Category:Monuments and memorials in Washington, D.C.

Category:Statues of Isabella I of Castile

Category:Sculptures of women in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials to women


Statue of Isabella I of Castile

Prompt: How does Statue of Isabella I of Castile explain its abstract?

Queen Isabella, also known as Queen Isabella (1451–1504), is an outdoor sculpture of Isabella I of Castile, installed outside the Pan American Union Building of the Organization of American States at 17th Street and Constitution Avenue NW in Washington, D.C., in the United States.

Category:Monuments and memorials in Washington, D.C.

Category:Statues of Isabella I of Castile

Category:Sculptures of women in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials to women


Statue of Isabella I of Castile

Prompt: In Statue of Isabella I of Castile, how is the abstract discussed?

Queen Isabella, also known as Queen Isabella (1451–1504), is an outdoor sculpture of Isabella I of Castile, installed outside the Pan American Union Building of the Organization of American States at 17th Street and Constitution Avenue NW in Washington, D.C., in the United States.

Category:Monuments and memorials in Washington, D.C.

Category:Statues of Isabella I of Castile

Category:Sculptures of women in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials to women


Going to Work

Prompt: Focus on Going to Work and explain the abstract.

Going to Work is a 1943 oil painting by the English artist L. S. Lowry.Originally commissioned as a piece of war art by the War Artists Advisory Committee, it depicts crowds of workers walking into the Mather & Platt engineering equipment factory in  Manchester, north-west England. The painting now hangs in the Imperial War Museum North.

File:Going to Work - L S Lowry (detail).jpg

File:British Trolleybuses - Manchester - geograph.org.uk - 3590417.jpg

Conservation and restoration of cultural property

Category:Paintings in the Imperial War Museum

[[History of public transport authorities in Manchester


Going to Work

Prompt: Explain the abstract of this artwork, Going to Work.

Going to Work is a 1943 oil painting by the English artist L. S. Lowry.Originally commissioned as a piece of war art by the War Artists Advisory Committee, it depicts crowds of workers walking into the Mather & Platt engineering equipment factory in  Manchester, north-west England. The painting now hangs in the Imperial War Museum North.

File:Going to Work - L S Lowry (detail).jpg

File:British Trolleybuses - Manchester - geograph.org.uk - 3590417.jpg

Conservation and restoration of cultural property

Category:Paintings in the Imperial War Museum

[[History of public transport authorities in Manchester


Going to Work

Prompt: How does Going to Work explain its abstract?

Going to Work is a 1943 oil painting by the English artist L. S. Lowry.Originally commissioned as a piece of war art by the War Artists Advisory Committee, it depicts crowds of workers walking into the Mather & Platt engineering equipment factory in  Manchester, north-west England. The painting now hangs in the Imperial War Museum North.

File:Going to Work - L S Lowry (detail).jpg

File:British Trolleybuses - Manchester - geograph.org.uk - 3590417.jpg

Conservation and restoration of cultural property

Category:Paintings in the Imperial War Museum

[[History of public transport authorities in Manchester


Going to Work

Prompt: In Going to Work, how is the abstract discussed?

Going to Work is a 1943 oil painting by the English artist L. S. Lowry.Originally commissioned as a piece of war art by the War Artists Advisory Committee, it depicts crowds of workers walking into the Mather & Platt engineering equipment factory in  Manchester, north-west England. The painting now hangs in the Imperial War Museum North.

File:Going to Work - L S Lowry (detail).jpg

File:British Trolleybuses - Manchester - geograph.org.uk - 3590417.jpg

Conservation and restoration of cultural property

Category:Paintings in the Imperial War Museum

[[History of public transport authorities in Manchester


Going to Work

Prompt: Focus on Going to Work and explain the Description.

Going to Work presents a grey, industrial scene of hundreds of factory workers walking towards the Mather & Platt engineering works at Newton Heath in Manchester. The crowds of workers are painted in Lowry's characteristic style as "matchstalk" figures, all walking in a uniform direction towards the focal point of the factory gate to the left of the picture. Beyond the gate, the figures continue filing into an array of ancillary factory buildings. In the background can be seen the turret of the Mather building, and in the foreground, the ends of a pair of red Manchester Corporation buses protrude into the field of view. Distant barrage balloons fly above the factory buildings.The pale-coloured ground was previously thought to represent a layer of snow, but art historians now consider this to be an evocation of industrial haze.The painting is signed in the bottom-left corner "L.S.LOWRY 1943".

File:Going to Work - L S Lowry (detail).jpg

File:British Trolleybuses - Manchester - geograph.org.uk - 3590417.jpg

Conservation and restoration of cultural property

Category:Paintings in the Imperial War Museum

[[History of public transport authorities in Manchester


Going to Work

Prompt: Explain the Description of this artwork, Going to Work.

Going to Work presents a grey, industrial scene of hundreds of factory workers walking towards the Mather & Platt engineering works at Newton Heath in Manchester. The crowds of workers are painted in Lowry's characteristic style as "matchstalk" figures, all walking in a uniform direction towards the focal point of the factory gate to the left of the picture. Beyond the gate, the figures continue filing into an array of ancillary factory buildings. In the background can be seen the turret of the Mather building, and in the foreground, the ends of a pair of red Manchester Corporation buses protrude into the field of view. Distant barrage balloons fly above the factory buildings.The pale-coloured ground was previously thought to represent a layer of snow, but art historians now consider this to be an evocation of industrial haze.The painting is signed in the bottom-left corner "L.S.LOWRY 1943".

File:Going to Work - L S Lowry (detail).jpg

File:British Trolleybuses - Manchester - geograph.org.uk - 3590417.jpg

Conservation and restoration of cultural property

Category:Paintings in the Imperial War Museum

[[History of public transport authorities in Manchester


Going to Work

Prompt: How does Going to Work explain its Description?

Going to Work presents a grey, industrial scene of hundreds of factory workers walking towards the Mather & Platt engineering works at Newton Heath in Manchester. The crowds of workers are painted in Lowry's characteristic style as "matchstalk" figures, all walking in a uniform direction towards the focal point of the factory gate to the left of the picture. Beyond the gate, the figures continue filing into an array of ancillary factory buildings. In the background can be seen the turret of the Mather building, and in the foreground, the ends of a pair of red Manchester Corporation buses protrude into the field of view. Distant barrage balloons fly above the factory buildings.The pale-coloured ground was previously thought to represent a layer of snow, but art historians now consider this to be an evocation of industrial haze.The painting is signed in the bottom-left corner "L.S.LOWRY 1943".

File:Going to Work - L S Lowry (detail).jpg

File:British Trolleybuses - Manchester - geograph.org.uk - 3590417.jpg

Conservation and restoration of cultural property

Category:Paintings in the Imperial War Museum

[[History of public transport authorities in Manchester


Going to Work

Prompt: In Going to Work, how is the Description discussed?

Going to Work presents a grey, industrial scene of hundreds of factory workers walking towards the Mather & Platt engineering works at Newton Heath in Manchester. The crowds of workers are painted in Lowry's characteristic style as "matchstalk" figures, all walking in a uniform direction towards the focal point of the factory gate to the left of the picture. Beyond the gate, the figures continue filing into an array of ancillary factory buildings. In the background can be seen the turret of the Mather building, and in the foreground, the ends of a pair of red Manchester Corporation buses protrude into the field of view. Distant barrage balloons fly above the factory buildings.The pale-coloured ground was previously thought to represent a layer of snow, but art historians now consider this to be an evocation of industrial haze.The painting is signed in the bottom-left corner "L.S.LOWRY 1943".

File:Going to Work - L S Lowry (detail).jpg

File:British Trolleybuses - Manchester - geograph.org.uk - 3590417.jpg

Conservation and restoration of cultural property

Category:Paintings in the Imperial War Museum

[[History of public transport authorities in Manchester


Going to Work

Prompt: Focus on Going to Work and explain the History.

Lowry painted the scene during a period of reduced artistic activity in his life. The death of his mother in 1939 took a heavy emotional toll on him, and Lowry produced little during the war. Despite living through two world wars, Lowry was not noted as a prolific war artist. During World War II, he served as a fire watcher in Manchester and produced a small number of paintings in the 1940s capturing the aftermath of the Manchester Blitz, among them After the Blitz and Blitzed Site, but other works of this time bear no visual evidence of wartime activity.Going to Work was commissioned in 1943 by the War Artists' Advisory Committee (WAAC) as part of an initiative to create a visual record of Britain during the years of World War II. The project involved a body of work by over 400 official war artists who captured scenes of the war effort.The WAAC wanted to reflect the important role of heavy industry in the war effort, and so Lowry's contribution was a scene of workers going into an engineering factory. He was paid 25 guineas for the commission and it was completed in three months. Allen Andrews notes that Going to Work is a typical example of a Lowry industrial scene, and that there is nothing in Lowry's image to distinguish it as "war art" except for the addition of a pair of barrage balloons, inflatable objects that were used to deter enemy bombers during air raids.When the painting was finished, it was displayed in a number of exhibitions in Britain and internationally. After World War II, Going to Work was given to the collection of the Imperial War Museum and was held in storage in London for many years. It was exhibited at the Royal Academy in 1976.In 2019 the piece was brought out of storage and underwent restoration. It is now on public display in the Imperial War Museum North, alongside works by other artists such as Flora Lion and Anna Airy.Another watercolour piece by Lowry of the same title was painted in 1959. It depicts a similar scene to his 1943 oil painting, with crowds of workers filing into factory buildings, and the two works have some common architectural elements. Formerly held in the collection of Salford Museum and Art Gallery, the watercolour is now on public display in The Lowry at Salford Quays.The Mather & Platt works depicted in Lowry's painting were built in 1900 and stood for many years after the war. The factory continued in operation until it finally closed in 2019. The factory buildings have since been demolished.

File:Going to Work - L S Lowry (detail).jpg

File:British Trolleybuses - Manchester - geograph.org.uk - 3590417.jpg

Conservation and restoration of cultural property

Category:Paintings in the Imperial War Museum

[[History of public transport authorities in Manchester


Going to Work

Prompt: Explain the History of this artwork, Going to Work.

Lowry painted the scene during a period of reduced artistic activity in his life. The death of his mother in 1939 took a heavy emotional toll on him, and Lowry produced little during the war. Despite living through two world wars, Lowry was not noted as a prolific war artist. During World War II, he served as a fire watcher in Manchester and produced a small number of paintings in the 1940s capturing the aftermath of the Manchester Blitz, among them After the Blitz and Blitzed Site, but other works of this time bear no visual evidence of wartime activity.Going to Work was commissioned in 1943 by the War Artists' Advisory Committee (WAAC) as part of an initiative to create a visual record of Britain during the years of World War II. The project involved a body of work by over 400 official war artists who captured scenes of the war effort.The WAAC wanted to reflect the important role of heavy industry in the war effort, and so Lowry's contribution was a scene of workers going into an engineering factory. He was paid 25 guineas for the commission and it was completed in three months. Allen Andrews notes that Going to Work is a typical example of a Lowry industrial scene, and that there is nothing in Lowry's image to distinguish it as "war art" except for the addition of a pair of barrage balloons, inflatable objects that were used to deter enemy bombers during air raids.When the painting was finished, it was displayed in a number of exhibitions in Britain and internationally. After World War II, Going to Work was given to the collection of the Imperial War Museum and was held in storage in London for many years. It was exhibited at the Royal Academy in 1976.In 2019 the piece was brought out of storage and underwent restoration. It is now on public display in the Imperial War Museum North, alongside works by other artists such as Flora Lion and Anna Airy.Another watercolour piece by Lowry of the same title was painted in 1959. It depicts a similar scene to his 1943 oil painting, with crowds of workers filing into factory buildings, and the two works have some common architectural elements. Formerly held in the collection of Salford Museum and Art Gallery, the watercolour is now on public display in The Lowry at Salford Quays.The Mather & Platt works depicted in Lowry's painting were built in 1900 and stood for many years after the war. The factory continued in operation until it finally closed in 2019. The factory buildings have since been demolished.

File:Going to Work - L S Lowry (detail).jpg

File:British Trolleybuses - Manchester - geograph.org.uk - 3590417.jpg

Conservation and restoration of cultural property

Category:Paintings in the Imperial War Museum

[[History of public transport authorities in Manchester


Going to Work

Prompt: How does Going to Work explain its History?

Lowry painted the scene during a period of reduced artistic activity in his life. The death of his mother in 1939 took a heavy emotional toll on him, and Lowry produced little during the war. Despite living through two world wars, Lowry was not noted as a prolific war artist. During World War II, he served as a fire watcher in Manchester and produced a small number of paintings in the 1940s capturing the aftermath of the Manchester Blitz, among them After the Blitz and Blitzed Site, but other works of this time bear no visual evidence of wartime activity.Going to Work was commissioned in 1943 by the War Artists' Advisory Committee (WAAC) as part of an initiative to create a visual record of Britain during the years of World War II. The project involved a body of work by over 400 official war artists who captured scenes of the war effort.The WAAC wanted to reflect the important role of heavy industry in the war effort, and so Lowry's contribution was a scene of workers going into an engineering factory. He was paid 25 guineas for the commission and it was completed in three months. Allen Andrews notes that Going to Work is a typical example of a Lowry industrial scene, and that there is nothing in Lowry's image to distinguish it as "war art" except for the addition of a pair of barrage balloons, inflatable objects that were used to deter enemy bombers during air raids.When the painting was finished, it was displayed in a number of exhibitions in Britain and internationally. After World War II, Going to Work was given to the collection of the Imperial War Museum and was held in storage in London for many years. It was exhibited at the Royal Academy in 1976.In 2019 the piece was brought out of storage and underwent restoration. It is now on public display in the Imperial War Museum North, alongside works by other artists such as Flora Lion and Anna Airy.Another watercolour piece by Lowry of the same title was painted in 1959. It depicts a similar scene to his 1943 oil painting, with crowds of workers filing into factory buildings, and the two works have some common architectural elements. Formerly held in the collection of Salford Museum and Art Gallery, the watercolour is now on public display in The Lowry at Salford Quays.The Mather & Platt works depicted in Lowry's painting were built in 1900 and stood for many years after the war. The factory continued in operation until it finally closed in 2019. The factory buildings have since been demolished.

File:Going to Work - L S Lowry (detail).jpg

File:British Trolleybuses - Manchester - geograph.org.uk - 3590417.jpg

Conservation and restoration of cultural property

Category:Paintings in the Imperial War Museum

[[History of public transport authorities in Manchester


Going to Work

Prompt: In Going to Work, how is the History discussed?

Lowry painted the scene during a period of reduced artistic activity in his life. The death of his mother in 1939 took a heavy emotional toll on him, and Lowry produced little during the war. Despite living through two world wars, Lowry was not noted as a prolific war artist. During World War II, he served as a fire watcher in Manchester and produced a small number of paintings in the 1940s capturing the aftermath of the Manchester Blitz, among them After the Blitz and Blitzed Site, but other works of this time bear no visual evidence of wartime activity.Going to Work was commissioned in 1943 by the War Artists' Advisory Committee (WAAC) as part of an initiative to create a visual record of Britain during the years of World War II. The project involved a body of work by over 400 official war artists who captured scenes of the war effort.The WAAC wanted to reflect the important role of heavy industry in the war effort, and so Lowry's contribution was a scene of workers going into an engineering factory. He was paid 25 guineas for the commission and it was completed in three months. Allen Andrews notes that Going to Work is a typical example of a Lowry industrial scene, and that there is nothing in Lowry's image to distinguish it as "war art" except for the addition of a pair of barrage balloons, inflatable objects that were used to deter enemy bombers during air raids.When the painting was finished, it was displayed in a number of exhibitions in Britain and internationally. After World War II, Going to Work was given to the collection of the Imperial War Museum and was held in storage in London for many years. It was exhibited at the Royal Academy in 1976.In 2019 the piece was brought out of storage and underwent restoration. It is now on public display in the Imperial War Museum North, alongside works by other artists such as Flora Lion and Anna Airy.Another watercolour piece by Lowry of the same title was painted in 1959. It depicts a similar scene to his 1943 oil painting, with crowds of workers filing into factory buildings, and the two works have some common architectural elements. Formerly held in the collection of Salford Museum and Art Gallery, the watercolour is now on public display in The Lowry at Salford Quays.The Mather & Platt works depicted in Lowry's painting were built in 1900 and stood for many years after the war. The factory continued in operation until it finally closed in 2019. The factory buildings have since been demolished.

File:Going to Work - L S Lowry (detail).jpg

File:British Trolleybuses - Manchester - geograph.org.uk - 3590417.jpg

Conservation and restoration of cultural property

Category:Paintings in the Imperial War Museum

[[History of public transport authorities in Manchester


The Triumph of Science over Death

Prompt: Focus on The Triumph of Science over Death and explain the abstract.

The Triumph of Science over Death, also known as Scientia, is a clay sculpture made by José Rizal as a gift to his friend Ferdinand Blumentritt.The statue depicts a young, nude woman with flowing hair, standing on a skull while bearing a torch. The woman symbolizes the ignorance of humankind during the Dark Ages of history, while the torch she bears symbolizes the enlightenment science brings to the world. The woman stands atop a skull, a symbol of death, to signify the victory that humankind aims to achieve by conquering the bane of death through scientific advancement.The original sculpture is now displayed at the Rizal Shrine Museum at Fort Santiago in Intramuros, Manila. A large replica, made of concrete, stands in front of the Fernando Calderón Hall, which houses the University of the Philippines College of Medicine, inside the University of the Philippines Manila campus in Ermita, Manila. Another replica is found outside the old Department of Health's Biological Production Service (BPS) research facility in Muntinlupa and is sculpted by Genaro Sy-Changco. The facility is now incorporated into the expanded Festival Alabang.The motif of the statue is also used by various medical associations in the Philippines as their symbol, the most notable of which is the Philippine College of Surgeons.

File:The Triumph of Science over Death, Muntinlupa City.jpg


The Triumph of Science over Death

Prompt: Explain the abstract of this artwork, The Triumph of Science over Death.

The Triumph of Science over Death, also known as Scientia, is a clay sculpture made by José Rizal as a gift to his friend Ferdinand Blumentritt.The statue depicts a young, nude woman with flowing hair, standing on a skull while bearing a torch. The woman symbolizes the ignorance of humankind during the Dark Ages of history, while the torch she bears symbolizes the enlightenment science brings to the world. The woman stands atop a skull, a symbol of death, to signify the victory that humankind aims to achieve by conquering the bane of death through scientific advancement.The original sculpture is now displayed at the Rizal Shrine Museum at Fort Santiago in Intramuros, Manila. A large replica, made of concrete, stands in front of the Fernando Calderón Hall, which houses the University of the Philippines College of Medicine, inside the University of the Philippines Manila campus in Ermita, Manila. Another replica is found outside the old Department of Health's Biological Production Service (BPS) research facility in Muntinlupa and is sculpted by Genaro Sy-Changco. The facility is now incorporated into the expanded Festival Alabang.The motif of the statue is also used by various medical associations in the Philippines as their symbol, the most notable of which is the Philippine College of Surgeons.

File:The Triumph of Science over Death, Muntinlupa City.jpg


The Triumph of Science over Death

Prompt: How does The Triumph of Science over Death explain its abstract?

The Triumph of Science over Death, also known as Scientia, is a clay sculpture made by José Rizal as a gift to his friend Ferdinand Blumentritt.The statue depicts a young, nude woman with flowing hair, standing on a skull while bearing a torch. The woman symbolizes the ignorance of humankind during the Dark Ages of history, while the torch she bears symbolizes the enlightenment science brings to the world. The woman stands atop a skull, a symbol of death, to signify the victory that humankind aims to achieve by conquering the bane of death through scientific advancement.The original sculpture is now displayed at the Rizal Shrine Museum at Fort Santiago in Intramuros, Manila. A large replica, made of concrete, stands in front of the Fernando Calderón Hall, which houses the University of the Philippines College of Medicine, inside the University of the Philippines Manila campus in Ermita, Manila. Another replica is found outside the old Department of Health's Biological Production Service (BPS) research facility in Muntinlupa and is sculpted by Genaro Sy-Changco. The facility is now incorporated into the expanded Festival Alabang.The motif of the statue is also used by various medical associations in the Philippines as their symbol, the most notable of which is the Philippine College of Surgeons.

File:The Triumph of Science over Death, Muntinlupa City.jpg


The Triumph of Science over Death

Prompt: In The Triumph of Science over Death, how is the abstract discussed?

The Triumph of Science over Death, also known as Scientia, is a clay sculpture made by José Rizal as a gift to his friend Ferdinand Blumentritt.The statue depicts a young, nude woman with flowing hair, standing on a skull while bearing a torch. The woman symbolizes the ignorance of humankind during the Dark Ages of history, while the torch she bears symbolizes the enlightenment science brings to the world. The woman stands atop a skull, a symbol of death, to signify the victory that humankind aims to achieve by conquering the bane of death through scientific advancement.The original sculpture is now displayed at the Rizal Shrine Museum at Fort Santiago in Intramuros, Manila. A large replica, made of concrete, stands in front of the Fernando Calderón Hall, which houses the University of the Philippines College of Medicine, inside the University of the Philippines Manila campus in Ermita, Manila. Another replica is found outside the old Department of Health's Biological Production Service (BPS) research facility in Muntinlupa and is sculpted by Genaro Sy-Changco. The facility is now incorporated into the expanded Festival Alabang.The motif of the statue is also used by various medical associations in the Philippines as their symbol, the most notable of which is the Philippine College of Surgeons.

File:The Triumph of Science over Death, Muntinlupa City.jpg


The Winnower (Millet)

Prompt: Focus on The Winnower (Millet) and explain the abstract.

The Winnower is the title of three oil on canvas paintings by French artist Jean-François Millet, created between 1847 and 1848. The first, now held at the National Gallery, in London, was painted in 1847-1848, and presented at the Salon of 1848. Subsequently, Millet created two other versions, one kept at the Louvre Museum, in Paris, much smaller than the original, and the other at the Musée d'Orsay, also in Paris.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: Explain the abstract of this artwork, The Winnower (Millet).

The Winnower is the title of three oil on canvas paintings by French artist Jean-François Millet, created between 1847 and 1848. The first, now held at the National Gallery, in London, was painted in 1847-1848, and presented at the Salon of 1848. Subsequently, Millet created two other versions, one kept at the Louvre Museum, in Paris, much smaller than the original, and the other at the Musée d'Orsay, also in Paris.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: How does The Winnower (Millet) explain its abstract?

The Winnower is the title of three oil on canvas paintings by French artist Jean-François Millet, created between 1847 and 1848. The first, now held at the National Gallery, in London, was painted in 1847-1848, and presented at the Salon of 1848. Subsequently, Millet created two other versions, one kept at the Louvre Museum, in Paris, much smaller than the original, and the other at the Musée d'Orsay, also in Paris.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: In The Winnower (Millet), how is the abstract discussed?

The Winnower is the title of three oil on canvas paintings by French artist Jean-François Millet, created between 1847 and 1848. The first, now held at the National Gallery, in London, was painted in 1847-1848, and presented at the Salon of 1848. Subsequently, Millet created two other versions, one kept at the Louvre Museum, in Paris, much smaller than the original, and the other at the Musée d'Orsay, also in Paris.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: Focus on The Winnower (Millet) and explain the History.

The first version of The Winnower was presented in the Grand Salon during the Salon of 1848, at the same time as The Captivity of the Jews of Babylon. If this work, as an history painting, was intended to attract buyers, the first marked Millet's entry into a new genre: the painting of peasant daily life. Indeed, with this representation of a winnower, Millet turns away from his literary and artistic references to offer works directly inspired by the peasant life, a vein that he will pursue from 1849 by settling in Barbizon. Furthermore Millet also produced at least two other versions of the work. The first, much smaller, is on display at the Louvre Museum, and the second is at the Musée d'Orsay.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: Explain the History of this artwork, The Winnower (Millet).

The first version of The Winnower was presented in the Grand Salon during the Salon of 1848, at the same time as The Captivity of the Jews of Babylon. If this work, as an history painting, was intended to attract buyers, the first marked Millet's entry into a new genre: the painting of peasant daily life. Indeed, with this representation of a winnower, Millet turns away from his literary and artistic references to offer works directly inspired by the peasant life, a vein that he will pursue from 1849 by settling in Barbizon. Furthermore Millet also produced at least two other versions of the work. The first, much smaller, is on display at the Louvre Museum, and the second is at the Musée d'Orsay.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: How does The Winnower (Millet) explain its History?

The first version of The Winnower was presented in the Grand Salon during the Salon of 1848, at the same time as The Captivity of the Jews of Babylon. If this work, as an history painting, was intended to attract buyers, the first marked Millet's entry into a new genre: the painting of peasant daily life. Indeed, with this representation of a winnower, Millet turns away from his literary and artistic references to offer works directly inspired by the peasant life, a vein that he will pursue from 1849 by settling in Barbizon. Furthermore Millet also produced at least two other versions of the work. The first, much smaller, is on display at the Louvre Museum, and the second is at the Musée d'Orsay.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: In The Winnower (Millet), how is the History discussed?

The first version of The Winnower was presented in the Grand Salon during the Salon of 1848, at the same time as The Captivity of the Jews of Babylon. If this work, as an history painting, was intended to attract buyers, the first marked Millet's entry into a new genre: the painting of peasant daily life. Indeed, with this representation of a winnower, Millet turns away from his literary and artistic references to offer works directly inspired by the peasant life, a vein that he will pursue from 1849 by settling in Barbizon. Furthermore Millet also produced at least two other versions of the work. The first, much smaller, is on display at the Louvre Museum, and the second is at the Musée d'Orsay.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: Focus on The Winnower (Millet) and explain the Description.

This series indeed represents each time a winnower, dressed in his working clothes and with clogs on his feet, who, using a van, blows up the grain to separate it from the straw. An evolution in the representation is however notable in the three paintings. The winnower indeed seems to recover from one version to another.Be that as it may, The Winnower like Millet's other figures, gleaners, shepherdesses, ploughmen, etc, is much more the representation of a type than of an individual person. Millet wanted above all to create “syntheses” as he called them. The appearance of these peasant subject in Millet's work may have been favored by the socialist climate that reigned around the Revolution of 1848, even if Millet did not participate in it and refused to be called a "socialist".

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: Explain the Description of this artwork, The Winnower (Millet).

This series indeed represents each time a winnower, dressed in his working clothes and with clogs on his feet, who, using a van, blows up the grain to separate it from the straw. An evolution in the representation is however notable in the three paintings. The winnower indeed seems to recover from one version to another.Be that as it may, The Winnower like Millet's other figures, gleaners, shepherdesses, ploughmen, etc, is much more the representation of a type than of an individual person. Millet wanted above all to create “syntheses” as he called them. The appearance of these peasant subject in Millet's work may have been favored by the socialist climate that reigned around the Revolution of 1848, even if Millet did not participate in it and refused to be called a "socialist".

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: How does The Winnower (Millet) explain its Description?

This series indeed represents each time a winnower, dressed in his working clothes and with clogs on his feet, who, using a van, blows up the grain to separate it from the straw. An evolution in the representation is however notable in the three paintings. The winnower indeed seems to recover from one version to another.Be that as it may, The Winnower like Millet's other figures, gleaners, shepherdesses, ploughmen, etc, is much more the representation of a type than of an individual person. Millet wanted above all to create “syntheses” as he called them. The appearance of these peasant subject in Millet's work may have been favored by the socialist climate that reigned around the Revolution of 1848, even if Millet did not participate in it and refused to be called a "socialist".

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: In The Winnower (Millet), how is the Description discussed?

This series indeed represents each time a winnower, dressed in his working clothes and with clogs on his feet, who, using a van, blows up the grain to separate it from the straw. An evolution in the representation is however notable in the three paintings. The winnower indeed seems to recover from one version to another.Be that as it may, The Winnower like Millet's other figures, gleaners, shepherdesses, ploughmen, etc, is much more the representation of a type than of an individual person. Millet wanted above all to create “syntheses” as he called them. The appearance of these peasant subject in Millet's work may have been favored by the socialist climate that reigned around the Revolution of 1848, even if Millet did not participate in it and refused to be called a "socialist".

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: Focus on The Winnower (Millet) and explain the Reception.

Writer Théophile Gautier in his work about the Salon de 1848 described this painting thus: “It is impossible to see anything rougher, more fierce, more bristling, more uncultivated; well! this mortar, this thick mess to retain the brush, is of excellent locality, of a fine and warm tone when one steps back three paces. This winnower who raises his van with his ragged knee, and raises into the air, in the middle of a column of golden dust, the grain of his basket, arches his back in the most masterly manner." He also adds that "M. Millet's painting has everything it takes to exasperate the bourgeois with hairless chins", a remark which explains the interest that the Republicans found in this work.This painting, presented at the Salon of 1848, stood out among the 5000 other works exhibited that year, and was bought for 500 francs by Alexandre-Ledru-Rollin, Minister of the Provisional Government.Its importance is all the greater as it notably inspired Gustave Courbet for his painting The Stone Breakers, made in 1849, which was destroyed during the bombardment of Dresden in 1945.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: Explain the Reception of this artwork, The Winnower (Millet).

Writer Théophile Gautier in his work about the Salon de 1848 described this painting thus: “It is impossible to see anything rougher, more fierce, more bristling, more uncultivated; well! this mortar, this thick mess to retain the brush, is of excellent locality, of a fine and warm tone when one steps back three paces. This winnower who raises his van with his ragged knee, and raises into the air, in the middle of a column of golden dust, the grain of his basket, arches his back in the most masterly manner." He also adds that "M. Millet's painting has everything it takes to exasperate the bourgeois with hairless chins", a remark which explains the interest that the Republicans found in this work.This painting, presented at the Salon of 1848, stood out among the 5000 other works exhibited that year, and was bought for 500 francs by Alexandre-Ledru-Rollin, Minister of the Provisional Government.Its importance is all the greater as it notably inspired Gustave Courbet for his painting The Stone Breakers, made in 1849, which was destroyed during the bombardment of Dresden in 1945.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: How does The Winnower (Millet) explain its Reception?

Writer Théophile Gautier in his work about the Salon de 1848 described this painting thus: “It is impossible to see anything rougher, more fierce, more bristling, more uncultivated; well! this mortar, this thick mess to retain the brush, is of excellent locality, of a fine and warm tone when one steps back three paces. This winnower who raises his van with his ragged knee, and raises into the air, in the middle of a column of golden dust, the grain of his basket, arches his back in the most masterly manner." He also adds that "M. Millet's painting has everything it takes to exasperate the bourgeois with hairless chins", a remark which explains the interest that the Republicans found in this work.This painting, presented at the Salon of 1848, stood out among the 5000 other works exhibited that year, and was bought for 500 francs by Alexandre-Ledru-Rollin, Minister of the Provisional Government.Its importance is all the greater as it notably inspired Gustave Courbet for his painting The Stone Breakers, made in 1849, which was destroyed during the bombardment of Dresden in 1945.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: In The Winnower (Millet), how is the Reception discussed?

Writer Théophile Gautier in his work about the Salon de 1848 described this painting thus: “It is impossible to see anything rougher, more fierce, more bristling, more uncultivated; well! this mortar, this thick mess to retain the brush, is of excellent locality, of a fine and warm tone when one steps back three paces. This winnower who raises his van with his ragged knee, and raises into the air, in the middle of a column of golden dust, the grain of his basket, arches his back in the most masterly manner." He also adds that "M. Millet's painting has everything it takes to exasperate the bourgeois with hairless chins", a remark which explains the interest that the Republicans found in this work.This painting, presented at the Salon of 1848, stood out among the 5000 other works exhibited that year, and was bought for 500 francs by Alexandre-Ledru-Rollin, Minister of the Provisional Government.Its importance is all the greater as it notably inspired Gustave Courbet for his painting The Stone Breakers, made in 1849, which was destroyed during the bombardment of Dresden in 1945.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


Perfect Harmony (painting)

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

The Perfect Accord (L'Accord parfait), also adapted into English as Perfect Harmony, is an oil-on-panel painting by Antoine Watteau, created c. 1719, now held in the Los Angeles County Museum of Art. It was the pendant to the same artist's The Surprise.It was initially owned by a friend of the artist, Nicolas Hénin, but it and Surprise were sold separately by his heir around 1756.

Category:Paintings in the Los Angeles County Museum of Art


Perfect Harmony (painting)

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

The Perfect Accord (L'Accord parfait), also adapted into English as Perfect Harmony, is an oil-on-panel painting by Antoine Watteau, created c. 1719, now held in the Los Angeles County Museum of Art. It was the pendant to the same artist's The Surprise.It was initially owned by a friend of the artist, Nicolas Hénin, but it and Surprise were sold separately by his heir around 1756.

Category:Paintings in the Los Angeles County Museum of Art


Perfect Harmony (painting)

Prompt: How does Perfect Harmony (painting) explain its abstract?

The Perfect Accord (L'Accord parfait), also adapted into English as Perfect Harmony, is an oil-on-panel painting by Antoine Watteau, created c. 1719, now held in the Los Angeles County Museum of Art. It was the pendant to the same artist's The Surprise.It was initially owned by a friend of the artist, Nicolas Hénin, but it and Surprise were sold separately by his heir around 1756.

Category:Paintings in the Los Angeles County Museum of Art


Perfect Harmony (painting)

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

The Perfect Accord (L'Accord parfait), also adapted into English as Perfect Harmony, is an oil-on-panel painting by Antoine Watteau, created c. 1719, now held in the Los Angeles County Museum of Art. It was the pendant to the same artist's The Surprise.It was initially owned by a friend of the artist, Nicolas Hénin, but it and Surprise were sold separately by his heir around 1756.

Category:Paintings in the Los Angeles County Museum of Art