Statue of Metallurgist Anosov, Zlatoust

Prompt: Focus on Statue of Metallurgist Anosov, Zlatoust and explain the History of creation.

The construction of the monument began with the decision of the Council of Ministers of the Soviet Union to commemorate Anosov Pavel Petrovich. On 15 November 1948, the Chairman of Council of Ministers of the Soviet Union Joseph Vissarionovich Stalin signed the Decree № 4229: "About the perpetuation of the memory of the great Russian metallurgist Pavel Petrovich Anosov". The first paragraph of the decreed refers to the construction of the monument of Anosov in Zlatoust. The dream of P.P. Anosov, grandson of N.A. Yanovskiy, which had been voiced half century ago, became a reality.From the beginning to end, the process of creating a new monument was coordinated by the deputy mayor of the city, D.Z. Istomin, along with many organizations and experts who were also involved. The metallurgists of the Southern Ural organized a conference in Zlatoust in September 1949, in which the employees of metallurgical enterprises, research and educational institutions, representatives of Moscow, Leningrad, Sverdlovsk and other industrial centers of the country took part. The conference was devoted to the 150th anniversary of Anosov's birthday, and the reports mostly described his achievements and creative heritage. On the second day, 11 September, the participants at the conference attended the city meeting on the occasion of discussion of the future monument "bookmark". A concrete marker- an obelisk with the inscription: "Here will be constructed a Statue of the Great Russian Metallurgist P.P. Anosov," was installed on the same place where the present Statue was later erected. One week later, the "bookmark" was included in the list of the city historical monuments.On 25 May 1951, to mark the 100th anniversary of P.P. Anosov's death, a memorial plaque was posted on the facade of the city history museum, the house in which Anosov lived for many years. It is one of three plaques affixed to the building.The sculpture's bronze castings were made by the "Монумент-скульптура" plant (English: Monument-sculpture) in Leningrad. The granite pedestal was made in Mytishchi.According to the Resolution № 1327 of the Council of Ministers of RSFSR dated 30 August 1960, the Statue of Metallurgist Anosov was taken under protection as a monument of national importance and republican values.

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: Explain the History of creation of this artwork, Statue of Metallurgist Anosov, Zlatoust.

The construction of the monument began with the decision of the Council of Ministers of the Soviet Union to commemorate Anosov Pavel Petrovich. On 15 November 1948, the Chairman of Council of Ministers of the Soviet Union Joseph Vissarionovich Stalin signed the Decree № 4229: "About the perpetuation of the memory of the great Russian metallurgist Pavel Petrovich Anosov". The first paragraph of the decreed refers to the construction of the monument of Anosov in Zlatoust. The dream of P.P. Anosov, grandson of N.A. Yanovskiy, which had been voiced half century ago, became a reality.From the beginning to end, the process of creating a new monument was coordinated by the deputy mayor of the city, D.Z. Istomin, along with many organizations and experts who were also involved. The metallurgists of the Southern Ural organized a conference in Zlatoust in September 1949, in which the employees of metallurgical enterprises, research and educational institutions, representatives of Moscow, Leningrad, Sverdlovsk and other industrial centers of the country took part. The conference was devoted to the 150th anniversary of Anosov's birthday, and the reports mostly described his achievements and creative heritage. On the second day, 11 September, the participants at the conference attended the city meeting on the occasion of discussion of the future monument "bookmark". A concrete marker- an obelisk with the inscription: "Here will be constructed a Statue of the Great Russian Metallurgist P.P. Anosov," was installed on the same place where the present Statue was later erected. One week later, the "bookmark" was included in the list of the city historical monuments.On 25 May 1951, to mark the 100th anniversary of P.P. Anosov's death, a memorial plaque was posted on the facade of the city history museum, the house in which Anosov lived for many years. It is one of three plaques affixed to the building.The sculpture's bronze castings were made by the "Монумент-скульптура" plant (English: Monument-sculpture) in Leningrad. The granite pedestal was made in Mytishchi.According to the Resolution № 1327 of the Council of Ministers of RSFSR dated 30 August 1960, the Statue of Metallurgist Anosov was taken under protection as a monument of national importance and republican values.

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: How does Statue of Metallurgist Anosov, Zlatoust explain its History of creation?

The construction of the monument began with the decision of the Council of Ministers of the Soviet Union to commemorate Anosov Pavel Petrovich. On 15 November 1948, the Chairman of Council of Ministers of the Soviet Union Joseph Vissarionovich Stalin signed the Decree № 4229: "About the perpetuation of the memory of the great Russian metallurgist Pavel Petrovich Anosov". The first paragraph of the decreed refers to the construction of the monument of Anosov in Zlatoust. The dream of P.P. Anosov, grandson of N.A. Yanovskiy, which had been voiced half century ago, became a reality.From the beginning to end, the process of creating a new monument was coordinated by the deputy mayor of the city, D.Z. Istomin, along with many organizations and experts who were also involved. The metallurgists of the Southern Ural organized a conference in Zlatoust in September 1949, in which the employees of metallurgical enterprises, research and educational institutions, representatives of Moscow, Leningrad, Sverdlovsk and other industrial centers of the country took part. The conference was devoted to the 150th anniversary of Anosov's birthday, and the reports mostly described his achievements and creative heritage. On the second day, 11 September, the participants at the conference attended the city meeting on the occasion of discussion of the future monument "bookmark". A concrete marker- an obelisk with the inscription: "Here will be constructed a Statue of the Great Russian Metallurgist P.P. Anosov," was installed on the same place where the present Statue was later erected. One week later, the "bookmark" was included in the list of the city historical monuments.On 25 May 1951, to mark the 100th anniversary of P.P. Anosov's death, a memorial plaque was posted on the facade of the city history museum, the house in which Anosov lived for many years. It is one of three plaques affixed to the building.The sculpture's bronze castings were made by the "Монумент-скульптура" plant (English: Monument-sculpture) in Leningrad. The granite pedestal was made in Mytishchi.According to the Resolution № 1327 of the Council of Ministers of RSFSR dated 30 August 1960, the Statue of Metallurgist Anosov was taken under protection as a monument of national importance and republican values.

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: In Statue of Metallurgist Anosov, Zlatoust, how is the History of creation discussed?

The construction of the monument began with the decision of the Council of Ministers of the Soviet Union to commemorate Anosov Pavel Petrovich. On 15 November 1948, the Chairman of Council of Ministers of the Soviet Union Joseph Vissarionovich Stalin signed the Decree № 4229: "About the perpetuation of the memory of the great Russian metallurgist Pavel Petrovich Anosov". The first paragraph of the decreed refers to the construction of the monument of Anosov in Zlatoust. The dream of P.P. Anosov, grandson of N.A. Yanovskiy, which had been voiced half century ago, became a reality.From the beginning to end, the process of creating a new monument was coordinated by the deputy mayor of the city, D.Z. Istomin, along with many organizations and experts who were also involved. The metallurgists of the Southern Ural organized a conference in Zlatoust in September 1949, in which the employees of metallurgical enterprises, research and educational institutions, representatives of Moscow, Leningrad, Sverdlovsk and other industrial centers of the country took part. The conference was devoted to the 150th anniversary of Anosov's birthday, and the reports mostly described his achievements and creative heritage. On the second day, 11 September, the participants at the conference attended the city meeting on the occasion of discussion of the future monument "bookmark". A concrete marker- an obelisk with the inscription: "Here will be constructed a Statue of the Great Russian Metallurgist P.P. Anosov," was installed on the same place where the present Statue was later erected. One week later, the "bookmark" was included in the list of the city historical monuments.On 25 May 1951, to mark the 100th anniversary of P.P. Anosov's death, a memorial plaque was posted on the facade of the city history museum, the house in which Anosov lived for many years. It is one of three plaques affixed to the building.The sculpture's bronze castings were made by the "Монумент-скульптура" plant (English: Monument-sculpture) in Leningrad. The granite pedestal was made in Mytishchi.According to the Resolution № 1327 of the Council of Ministers of RSFSR dated 30 August 1960, the Statue of Metallurgist Anosov was taken under protection as a monument of national importance and republican values.

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: Focus on Statue of Metallurgist Anosov, Zlatoust and explain the Bulat steel.

Mikhail Fonotov wrote in his book Native Olden Times (Russian: Родная старина): A knife blade? Yes, there was the bulat blade. And then there was the tank's armored steel. And then there was the rocket steel. And then there was a nuclear shield. Anosov. Korolyov. Kurchatov."When the Russian people say Anosov, they think of bulat steel.Bulat steel weapons are legendary; the novelist Sir Walter Scott described competitions in agility between King Richard the Lionheart and the Sultan Saladin with damask steel blades. Arabs were said to use blades which were flexible enough to wrap around the waist and yet hard and sharp so that a falling silk scarf could be cut by an unmoving damask blade.Bulat is one of the most interesting mysteries of metallurgical history; there are still many methods of bulat and damask blade production in Arabia and India that are unknown, and have been lost. Some scientists argue that Anosov rediscovered the secret of the production of bulat steel. Anosov's bulat steel was able to reproduce the flexibility, but the hardness was lacking. In the 20th century, Soviet scientists achieved the appropriate hardness of the steel, but its flexibility did not equal that achieved by Anosov's methods.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: Explain the Bulat steel of this artwork, Statue of Metallurgist Anosov, Zlatoust.

Mikhail Fonotov wrote in his book Native Olden Times (Russian: Родная старина): A knife blade? Yes, there was the bulat blade. And then there was the tank's armored steel. And then there was the rocket steel. And then there was a nuclear shield. Anosov. Korolyov. Kurchatov."When the Russian people say Anosov, they think of bulat steel.Bulat steel weapons are legendary; the novelist Sir Walter Scott described competitions in agility between King Richard the Lionheart and the Sultan Saladin with damask steel blades. Arabs were said to use blades which were flexible enough to wrap around the waist and yet hard and sharp so that a falling silk scarf could be cut by an unmoving damask blade.Bulat is one of the most interesting mysteries of metallurgical history; there are still many methods of bulat and damask blade production in Arabia and India that are unknown, and have been lost. Some scientists argue that Anosov rediscovered the secret of the production of bulat steel. Anosov's bulat steel was able to reproduce the flexibility, but the hardness was lacking. In the 20th century, Soviet scientists achieved the appropriate hardness of the steel, but its flexibility did not equal that achieved by Anosov's methods.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: How does Statue of Metallurgist Anosov, Zlatoust explain its Bulat steel?

Mikhail Fonotov wrote in his book Native Olden Times (Russian: Родная старина): A knife blade? Yes, there was the bulat blade. And then there was the tank's armored steel. And then there was the rocket steel. And then there was a nuclear shield. Anosov. Korolyov. Kurchatov."When the Russian people say Anosov, they think of bulat steel.Bulat steel weapons are legendary; the novelist Sir Walter Scott described competitions in agility between King Richard the Lionheart and the Sultan Saladin with damask steel blades. Arabs were said to use blades which were flexible enough to wrap around the waist and yet hard and sharp so that a falling silk scarf could be cut by an unmoving damask blade.Bulat is one of the most interesting mysteries of metallurgical history; there are still many methods of bulat and damask blade production in Arabia and India that are unknown, and have been lost. Some scientists argue that Anosov rediscovered the secret of the production of bulat steel. Anosov's bulat steel was able to reproduce the flexibility, but the hardness was lacking. In the 20th century, Soviet scientists achieved the appropriate hardness of the steel, but its flexibility did not equal that achieved by Anosov's methods.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: In Statue of Metallurgist Anosov, Zlatoust, how is the Bulat steel discussed?

Mikhail Fonotov wrote in his book Native Olden Times (Russian: Родная старина): A knife blade? Yes, there was the bulat blade. And then there was the tank's armored steel. And then there was the rocket steel. And then there was a nuclear shield. Anosov. Korolyov. Kurchatov."When the Russian people say Anosov, they think of bulat steel.Bulat steel weapons are legendary; the novelist Sir Walter Scott described competitions in agility between King Richard the Lionheart and the Sultan Saladin with damask steel blades. Arabs were said to use blades which were flexible enough to wrap around the waist and yet hard and sharp so that a falling silk scarf could be cut by an unmoving damask blade.Bulat is one of the most interesting mysteries of metallurgical history; there are still many methods of bulat and damask blade production in Arabia and India that are unknown, and have been lost. Some scientists argue that Anosov rediscovered the secret of the production of bulat steel. Anosov's bulat steel was able to reproduce the flexibility, but the hardness was lacking. In the 20th century, Soviet scientists achieved the appropriate hardness of the steel, but its flexibility did not equal that achieved by Anosov's methods.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: Focus on Statue of Metallurgist Anosov, Zlatoust and explain the Postscript.

In 1960, the Statue of P.P. Anosov was taken under protection as a monument of national importance and republican values and today it is a monument of Federation values.In March 1998, for the first time, the bronze Anosov was removed from its pedestal in order to be restored. The newly refurbished statue reappeared in September of the same year.The Soviet-era Statue of Metallurgist Anosov is one of the most common scenes on postcards with views of Zlatoust.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: Explain the Postscript of this artwork, Statue of Metallurgist Anosov, Zlatoust.

In 1960, the Statue of P.P. Anosov was taken under protection as a monument of national importance and republican values and today it is a monument of Federation values.In March 1998, for the first time, the bronze Anosov was removed from its pedestal in order to be restored. The newly refurbished statue reappeared in September of the same year.The Soviet-era Statue of Metallurgist Anosov is one of the most common scenes on postcards with views of Zlatoust.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: How does Statue of Metallurgist Anosov, Zlatoust explain its Postscript?

In 1960, the Statue of P.P. Anosov was taken under protection as a monument of national importance and republican values and today it is a monument of Federation values.In March 1998, for the first time, the bronze Anosov was removed from its pedestal in order to be restored. The newly refurbished statue reappeared in September of the same year.The Soviet-era Statue of Metallurgist Anosov is one of the most common scenes on postcards with views of Zlatoust.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: In Statue of Metallurgist Anosov, Zlatoust, how is the Postscript discussed?

In 1960, the Statue of P.P. Anosov was taken under protection as a monument of national importance and republican values and today it is a monument of Federation values.In March 1998, for the first time, the bronze Anosov was removed from its pedestal in order to be restored. The newly refurbished statue reappeared in September of the same year.The Soviet-era Statue of Metallurgist Anosov is one of the most common scenes on postcards with views of Zlatoust.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Prompt: Focus on Martyrdom of Saint Sebastian (Pollaiuolo) and explain the abstract.

The Martyrdom of Saint Sebastian is a large altarpiece by the brothers Antonio and Piero del Pollaiuolo, commissioned by the Florentine Pucci family and now in the National Gallery, London.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings by Piero del Pollaiuolo

Category:Paintings in the National Gallery, London


Prompt: Explain the abstract of this artwork, Martyrdom of Saint Sebastian (Pollaiuolo).

The Martyrdom of Saint Sebastian is a large altarpiece by the brothers Antonio and Piero del Pollaiuolo, commissioned by the Florentine Pucci family and now in the National Gallery, London.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings by Piero del Pollaiuolo

Category:Paintings in the National Gallery, London


Prompt: How does Martyrdom of Saint Sebastian (Pollaiuolo) explain its abstract?

The Martyrdom of Saint Sebastian is a large altarpiece by the brothers Antonio and Piero del Pollaiuolo, commissioned by the Florentine Pucci family and now in the National Gallery, London.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings by Piero del Pollaiuolo

Category:Paintings in the National Gallery, London


Prompt: In Martyrdom of Saint Sebastian (Pollaiuolo), how is the abstract discussed?

The Martyrdom of Saint Sebastian is a large altarpiece by the brothers Antonio and Piero del Pollaiuolo, commissioned by the Florentine Pucci family and now in the National Gallery, London.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings by Piero del Pollaiuolo

Category:Paintings in the National Gallery, London


Prompt: Focus on Martyrdom of Saint Sebastian (Pollaiuolo) and explain the History.

The Pucci family commissioned the work as the altarpiece for the family chapel, the oratory dedicated to Saint Sebastian in the church of Santissima Annunziata, Florence. Giorgio Vasari dates it to 1475, attributing it solely to Antonio del Pollaiuolo, but it is today usually seen as a joint work, no doubt also involving assistants from their workshops. Roberto Pucci withdrew the work from the oratory on the pretext of restoration but then in 1857 sold it to the National Gallery.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings by Piero del Pollaiuolo

Category:Paintings in the National Gallery, London


Prompt: Explain the History of this artwork, Martyrdom of Saint Sebastian (Pollaiuolo).

The Pucci family commissioned the work as the altarpiece for the family chapel, the oratory dedicated to Saint Sebastian in the church of Santissima Annunziata, Florence. Giorgio Vasari dates it to 1475, attributing it solely to Antonio del Pollaiuolo, but it is today usually seen as a joint work, no doubt also involving assistants from their workshops. Roberto Pucci withdrew the work from the oratory on the pretext of restoration but then in 1857 sold it to the National Gallery.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings by Piero del Pollaiuolo

Category:Paintings in the National Gallery, London


Prompt: How does Martyrdom of Saint Sebastian (Pollaiuolo) explain its History?

The Pucci family commissioned the work as the altarpiece for the family chapel, the oratory dedicated to Saint Sebastian in the church of Santissima Annunziata, Florence. Giorgio Vasari dates it to 1475, attributing it solely to Antonio del Pollaiuolo, but it is today usually seen as a joint work, no doubt also involving assistants from their workshops. Roberto Pucci withdrew the work from the oratory on the pretext of restoration but then in 1857 sold it to the National Gallery.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings by Piero del Pollaiuolo

Category:Paintings in the National Gallery, London


Prompt: In Martyrdom of Saint Sebastian (Pollaiuolo), how is the History discussed?

The Pucci family commissioned the work as the altarpiece for the family chapel, the oratory dedicated to Saint Sebastian in the church of Santissima Annunziata, Florence. Giorgio Vasari dates it to 1475, attributing it solely to Antonio del Pollaiuolo, but it is today usually seen as a joint work, no doubt also involving assistants from their workshops. Roberto Pucci withdrew the work from the oratory on the pretext of restoration but then in 1857 sold it to the National Gallery.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings by Piero del Pollaiuolo

Category:Paintings in the National Gallery, London


Prompt: Focus on Martyrdom of Saint Sebastian (Pollaiuolo) and explain the Analysis.

The painting is considered Antonio's masterpiece, with a more rigid geometric control on the composition than in his previous works, without giving up his usual naturalness of poses and movement – the four archers in the foreground form two symmetrical poses, with the two central ones reloading and the two on the edges firing, in perfect equilibrium either side of the central post to which Sebastian is tied.It can be contrasted with its near-contemporary, the Saint Sebastian by Botticelli, which instead puts the figure of the saint in isolation in a Flemish-inspired landscape. Francesco Botticini's Saint Sebastian, formerly attributed to Andrea del Castagno and dated to the years immediately after 1474, borrows from the Botticelli.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings by Piero del Pollaiuolo

Category:Paintings in the National Gallery, London


Prompt: Explain the Analysis of this artwork, Martyrdom of Saint Sebastian (Pollaiuolo).

The painting is considered Antonio's masterpiece, with a more rigid geometric control on the composition than in his previous works, without giving up his usual naturalness of poses and movement – the four archers in the foreground form two symmetrical poses, with the two central ones reloading and the two on the edges firing, in perfect equilibrium either side of the central post to which Sebastian is tied.It can be contrasted with its near-contemporary, the Saint Sebastian by Botticelli, which instead puts the figure of the saint in isolation in a Flemish-inspired landscape. Francesco Botticini's Saint Sebastian, formerly attributed to Andrea del Castagno and dated to the years immediately after 1474, borrows from the Botticelli.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings by Piero del Pollaiuolo

Category:Paintings in the National Gallery, London


Prompt: How does Martyrdom of Saint Sebastian (Pollaiuolo) explain its Analysis?

The painting is considered Antonio's masterpiece, with a more rigid geometric control on the composition than in his previous works, without giving up his usual naturalness of poses and movement – the four archers in the foreground form two symmetrical poses, with the two central ones reloading and the two on the edges firing, in perfect equilibrium either side of the central post to which Sebastian is tied.It can be contrasted with its near-contemporary, the Saint Sebastian by Botticelli, which instead puts the figure of the saint in isolation in a Flemish-inspired landscape. Francesco Botticini's Saint Sebastian, formerly attributed to Andrea del Castagno and dated to the years immediately after 1474, borrows from the Botticelli.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings by Piero del Pollaiuolo

Category:Paintings in the National Gallery, London


Prompt: In Martyrdom of Saint Sebastian (Pollaiuolo), how is the Analysis discussed?

The painting is considered Antonio's masterpiece, with a more rigid geometric control on the composition than in his previous works, without giving up his usual naturalness of poses and movement – the four archers in the foreground form two symmetrical poses, with the two central ones reloading and the two on the edges firing, in perfect equilibrium either side of the central post to which Sebastian is tied.It can be contrasted with its near-contemporary, the Saint Sebastian by Botticelli, which instead puts the figure of the saint in isolation in a Flemish-inspired landscape. Francesco Botticini's Saint Sebastian, formerly attributed to Andrea del Castagno and dated to the years immediately after 1474, borrows from the Botticelli.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings by Piero del Pollaiuolo

Category:Paintings in the National Gallery, London


No. 1 Northern

Prompt: Focus on No. 1 Northern and explain the abstract.

No. 1 Northern is a large public art work in the form of a steel abstract sculpture by John Cullen Nugent, currently standing where it was originally installed in the fore court of the Canadian Grain Commission building in Winnipeg, in 1976. The work generated controversy from the moment it was unveiled, and even after its removal by ministerial order in 1978. In 1979, Meriké Wiler called it the most controversial piece of Canadian public art ever commissioned during the fourteen years of Canada's public art funding scheme. It was  hauled away and cut into pieces on two occasions, before and after being installed in front of another federal government building, and finally reinstalled at its intended location once more in 1997, nearly twenty years after its removal.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: Explain the abstract of this artwork, No. 1 Northern.

No. 1 Northern is a large public art work in the form of a steel abstract sculpture by John Cullen Nugent, currently standing where it was originally installed in the fore court of the Canadian Grain Commission building in Winnipeg, in 1976. The work generated controversy from the moment it was unveiled, and even after its removal by ministerial order in 1978. In 1979, Meriké Wiler called it the most controversial piece of Canadian public art ever commissioned during the fourteen years of Canada's public art funding scheme. It was  hauled away and cut into pieces on two occasions, before and after being installed in front of another federal government building, and finally reinstalled at its intended location once more in 1997, nearly twenty years after its removal.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: How does No. 1 Northern explain its abstract?

No. 1 Northern is a large public art work in the form of a steel abstract sculpture by John Cullen Nugent, currently standing where it was originally installed in the fore court of the Canadian Grain Commission building in Winnipeg, in 1976. The work generated controversy from the moment it was unveiled, and even after its removal by ministerial order in 1978. In 1979, Meriké Wiler called it the most controversial piece of Canadian public art ever commissioned during the fourteen years of Canada's public art funding scheme. It was  hauled away and cut into pieces on two occasions, before and after being installed in front of another federal government building, and finally reinstalled at its intended location once more in 1997, nearly twenty years after its removal.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: In No. 1 Northern, how is the abstract discussed?

No. 1 Northern is a large public art work in the form of a steel abstract sculpture by John Cullen Nugent, currently standing where it was originally installed in the fore court of the Canadian Grain Commission building in Winnipeg, in 1976. The work generated controversy from the moment it was unveiled, and even after its removal by ministerial order in 1978. In 1979, Meriké Wiler called it the most controversial piece of Canadian public art ever commissioned during the fourteen years of Canada's public art funding scheme. It was  hauled away and cut into pieces on two occasions, before and after being installed in front of another federal government building, and finally reinstalled at its intended location once more in 1997, nearly twenty years after its removal.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: Focus on No. 1 Northern and explain the Inspiration.

No. 1 Northern was intended to be a metaphor for fields of wheat, represented in multi-layer rectangular shapes and painted the "brilliant" yellow of harvest wheat, representing Canada's hardy top grade, red spring wheat hybrid of the same name that dominates the prairies in the fall.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: Explain the Inspiration of this artwork, No. 1 Northern.

No. 1 Northern was intended to be a metaphor for fields of wheat, represented in multi-layer rectangular shapes and painted the "brilliant" yellow of harvest wheat, representing Canada's hardy top grade, red spring wheat hybrid of the same name that dominates the prairies in the fall.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: How does No. 1 Northern explain its Inspiration?

No. 1 Northern was intended to be a metaphor for fields of wheat, represented in multi-layer rectangular shapes and painted the "brilliant" yellow of harvest wheat, representing Canada's hardy top grade, red spring wheat hybrid of the same name that dominates the prairies in the fall.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: In No. 1 Northern, how is the Inspiration discussed?

No. 1 Northern was intended to be a metaphor for fields of wheat, represented in multi-layer rectangular shapes and painted the "brilliant" yellow of harvest wheat, representing Canada's hardy top grade, red spring wheat hybrid of the same name that dominates the prairies in the fall.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: In the context of No. 1 Northern, explain the Commission and the History.

During the 1960s and 1970s, the Canadian government acted regularly as a patron of the arts, and the Department of Public Works had a fine art program in which 1% of the construction costs for federal buildings open to the public would be spent on commissioning art. Architectural firm Smith Carter had recently designed and built the new Canadian Grain Commission building, and recommended that it be bestowed with a large scale exterior sculpture, but no art allowance had been designated in the construction budget, and in June 1972 the firm notified the Department of Public Works. The Western Region Office responded that there were no funds available for art. In April 1973, Ernest J. Smith, the building's principal architect, met with Regional Committee member Kenneth Lochhead and they "mutually agreed" that the building required a major contemporary work of art for the fore court, determining a budget of $50,000, with Smith to follow up with a list of artists (the Regional Office had not changed its position). In June 1974, with no funds forthcoming, Smith suggested the Commission might rent a work of art from the Art Bank, but its advisory committee members disagreed: after ten years, the rental fees would exceed the value of the art. The following July, a competition was proposed between ten invited artists, with each to receive $500 for their maquette (scale model) and travel expenses. In January 1975, Nugent and four other artists, Henry Saxe, Ulysse Comtois, Ricardo Gomez, and Hugh Leroy, were chosen by Smith (with Kenneth Lochhead's advice). Public Works Headquarters determined that the funds would come from the Western Region's Accommodation Capital. The Advisory Committee selected Nugent's work.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: Explain the Commission about the History of this artwork, No. 1 Northern.

During the 1960s and 1970s, the Canadian government acted regularly as a patron of the arts, and the Department of Public Works had a fine art program in which 1% of the construction costs for federal buildings open to the public would be spent on commissioning art. Architectural firm Smith Carter had recently designed and built the new Canadian Grain Commission building, and recommended that it be bestowed with a large scale exterior sculpture, but no art allowance had been designated in the construction budget, and in June 1972 the firm notified the Department of Public Works. The Western Region Office responded that there were no funds available for art. In April 1973, Ernest J. Smith, the building's principal architect, met with Regional Committee member Kenneth Lochhead and they "mutually agreed" that the building required a major contemporary work of art for the fore court, determining a budget of $50,000, with Smith to follow up with a list of artists (the Regional Office had not changed its position). In June 1974, with no funds forthcoming, Smith suggested the Commission might rent a work of art from the Art Bank, but its advisory committee members disagreed: after ten years, the rental fees would exceed the value of the art. The following July, a competition was proposed between ten invited artists, with each to receive $500 for their maquette (scale model) and travel expenses. In January 1975, Nugent and four other artists, Henry Saxe, Ulysse Comtois, Ricardo Gomez, and Hugh Leroy, were chosen by Smith (with Kenneth Lochhead's advice). Public Works Headquarters determined that the funds would come from the Western Region's Accommodation Capital. The Advisory Committee selected Nugent's work.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: In No. 1 Northern, how is the Commission of the History explained?

During the 1960s and 1970s, the Canadian government acted regularly as a patron of the arts, and the Department of Public Works had a fine art program in which 1% of the construction costs for federal buildings open to the public would be spent on commissioning art. Architectural firm Smith Carter had recently designed and built the new Canadian Grain Commission building, and recommended that it be bestowed with a large scale exterior sculpture, but no art allowance had been designated in the construction budget, and in June 1972 the firm notified the Department of Public Works. The Western Region Office responded that there were no funds available for art. In April 1973, Ernest J. Smith, the building's principal architect, met with Regional Committee member Kenneth Lochhead and they "mutually agreed" that the building required a major contemporary work of art for the fore court, determining a budget of $50,000, with Smith to follow up with a list of artists (the Regional Office had not changed its position). In June 1974, with no funds forthcoming, Smith suggested the Commission might rent a work of art from the Art Bank, but its advisory committee members disagreed: after ten years, the rental fees would exceed the value of the art. The following July, a competition was proposed between ten invited artists, with each to receive $500 for their maquette (scale model) and travel expenses. In January 1975, Nugent and four other artists, Henry Saxe, Ulysse Comtois, Ricardo Gomez, and Hugh Leroy, were chosen by Smith (with Kenneth Lochhead's advice). Public Works Headquarters determined that the funds would come from the Western Region's Accommodation Capital. The Advisory Committee selected Nugent's work.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: Describe the characteristics of the Commission in No. 1 Northern's History.

During the 1960s and 1970s, the Canadian government acted regularly as a patron of the arts, and the Department of Public Works had a fine art program in which 1% of the construction costs for federal buildings open to the public would be spent on commissioning art. Architectural firm Smith Carter had recently designed and built the new Canadian Grain Commission building, and recommended that it be bestowed with a large scale exterior sculpture, but no art allowance had been designated in the construction budget, and in June 1972 the firm notified the Department of Public Works. The Western Region Office responded that there were no funds available for art. In April 1973, Ernest J. Smith, the building's principal architect, met with Regional Committee member Kenneth Lochhead and they "mutually agreed" that the building required a major contemporary work of art for the fore court, determining a budget of $50,000, with Smith to follow up with a list of artists (the Regional Office had not changed its position). In June 1974, with no funds forthcoming, Smith suggested the Commission might rent a work of art from the Art Bank, but its advisory committee members disagreed: after ten years, the rental fees would exceed the value of the art. The following July, a competition was proposed between ten invited artists, with each to receive $500 for their maquette (scale model) and travel expenses. In January 1975, Nugent and four other artists, Henry Saxe, Ulysse Comtois, Ricardo Gomez, and Hugh Leroy, were chosen by Smith (with Kenneth Lochhead's advice). Public Works Headquarters determined that the funds would come from the Western Region's Accommodation Capital. The Advisory Committee selected Nugent's work.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: In the context of No. 1 Northern, explain the Installation and reception and the History.

Earl Baxter, chairman of the Board of Grain Commissioners, attended the meeting at which Nugent's proposal was selected and expressed reservations about its design. Over his objections, the work was installed in late 1975. Baxter continued to complain, applying to officials as far up in the chain of command as Public Works Minister C.M. Drury, but finding himself ignored, canvassed employees, and shortly after the work's 1976 unveiling, obtained 300 signatures signed in protest (a dozen employees liked it). Before the official unveiling, then Agriculture Minister Eugene Whelan called the work "a waste of taxpayers' moneys." Margarite Pinney, then chief of the fine arts program for Public Works, said Whelan was criticizing a piece of art work he had never seen: "We have been trying for some time to get a piece of sculpture for a federal building in western Canada and on the eve of an unveiling we have unfair comments from the minister". Winnipeg Tribune columnist Vic Grant said it should be plowed under and left to decompose, while others "went from there, proposing that its creator... be plowed under with it." According to the federal government's Cultural Property Inventory, in addition to complaints from employees and the general public that the work was "ugly and meaningless", there were also "charges that the piece was dangerous in the winter because someone might walk into it and injure themselves." Catherine Anderson-Dolcini believes that many people were either unaware of what the work represented, or else resented representation of the wheat in abstract form, and that much anger, stemmed from a lack of public involvement during the selection process.The controversy continued for eighteen months. Mayo Graham of the Public Works Capital Region Advisory Committee felt that "both the sculpture and its location" were fine, but was not happy with what he called the "bus 'hut,' bench, and surrounding planting", as he wrote in a letter to Bob Osler, Acting Chief of Environmental Design, dated 9 August 1977:Frankly, I think that we should care enough about the sculpture to highlight it... rather than try to hide or detract from it with these other unattractive elements. I hope there is still the possibility of convincing those in charge to keep the Nugent sculpture in place.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: Explain the Installation and reception about the History of this artwork, No. 1 Northern.

Earl Baxter, chairman of the Board of Grain Commissioners, attended the meeting at which Nugent's proposal was selected and expressed reservations about its design. Over his objections, the work was installed in late 1975. Baxter continued to complain, applying to officials as far up in the chain of command as Public Works Minister C.M. Drury, but finding himself ignored, canvassed employees, and shortly after the work's 1976 unveiling, obtained 300 signatures signed in protest (a dozen employees liked it). Before the official unveiling, then Agriculture Minister Eugene Whelan called the work "a waste of taxpayers' moneys." Margarite Pinney, then chief of the fine arts program for Public Works, said Whelan was criticizing a piece of art work he had never seen: "We have been trying for some time to get a piece of sculpture for a federal building in western Canada and on the eve of an unveiling we have unfair comments from the minister". Winnipeg Tribune columnist Vic Grant said it should be plowed under and left to decompose, while others "went from there, proposing that its creator... be plowed under with it." According to the federal government's Cultural Property Inventory, in addition to complaints from employees and the general public that the work was "ugly and meaningless", there were also "charges that the piece was dangerous in the winter because someone might walk into it and injure themselves." Catherine Anderson-Dolcini believes that many people were either unaware of what the work represented, or else resented representation of the wheat in abstract form, and that much anger, stemmed from a lack of public involvement during the selection process.The controversy continued for eighteen months. Mayo Graham of the Public Works Capital Region Advisory Committee felt that "both the sculpture and its location" were fine, but was not happy with what he called the "bus 'hut,' bench, and surrounding planting", as he wrote in a letter to Bob Osler, Acting Chief of Environmental Design, dated 9 August 1977:Frankly, I think that we should care enough about the sculpture to highlight it... rather than try to hide or detract from it with these other unattractive elements. I hope there is still the possibility of convincing those in charge to keep the Nugent sculpture in place.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: In No. 1 Northern, how is the Installation and reception of the History explained?

Earl Baxter, chairman of the Board of Grain Commissioners, attended the meeting at which Nugent's proposal was selected and expressed reservations about its design. Over his objections, the work was installed in late 1975. Baxter continued to complain, applying to officials as far up in the chain of command as Public Works Minister C.M. Drury, but finding himself ignored, canvassed employees, and shortly after the work's 1976 unveiling, obtained 300 signatures signed in protest (a dozen employees liked it). Before the official unveiling, then Agriculture Minister Eugene Whelan called the work "a waste of taxpayers' moneys." Margarite Pinney, then chief of the fine arts program for Public Works, said Whelan was criticizing a piece of art work he had never seen: "We have been trying for some time to get a piece of sculpture for a federal building in western Canada and on the eve of an unveiling we have unfair comments from the minister". Winnipeg Tribune columnist Vic Grant said it should be plowed under and left to decompose, while others "went from there, proposing that its creator... be plowed under with it." According to the federal government's Cultural Property Inventory, in addition to complaints from employees and the general public that the work was "ugly and meaningless", there were also "charges that the piece was dangerous in the winter because someone might walk into it and injure themselves." Catherine Anderson-Dolcini believes that many people were either unaware of what the work represented, or else resented representation of the wheat in abstract form, and that much anger, stemmed from a lack of public involvement during the selection process.The controversy continued for eighteen months. Mayo Graham of the Public Works Capital Region Advisory Committee felt that "both the sculpture and its location" were fine, but was not happy with what he called the "bus 'hut,' bench, and surrounding planting", as he wrote in a letter to Bob Osler, Acting Chief of Environmental Design, dated 9 August 1977:Frankly, I think that we should care enough about the sculpture to highlight it... rather than try to hide or detract from it with these other unattractive elements. I hope there is still the possibility of convincing those in charge to keep the Nugent sculpture in place.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: Describe the characteristics of the Installation and reception in No. 1 Northern's History.

Earl Baxter, chairman of the Board of Grain Commissioners, attended the meeting at which Nugent's proposal was selected and expressed reservations about its design. Over his objections, the work was installed in late 1975. Baxter continued to complain, applying to officials as far up in the chain of command as Public Works Minister C.M. Drury, but finding himself ignored, canvassed employees, and shortly after the work's 1976 unveiling, obtained 300 signatures signed in protest (a dozen employees liked it). Before the official unveiling, then Agriculture Minister Eugene Whelan called the work "a waste of taxpayers' moneys." Margarite Pinney, then chief of the fine arts program for Public Works, said Whelan was criticizing a piece of art work he had never seen: "We have been trying for some time to get a piece of sculpture for a federal building in western Canada and on the eve of an unveiling we have unfair comments from the minister". Winnipeg Tribune columnist Vic Grant said it should be plowed under and left to decompose, while others "went from there, proposing that its creator... be plowed under with it." According to the federal government's Cultural Property Inventory, in addition to complaints from employees and the general public that the work was "ugly and meaningless", there were also "charges that the piece was dangerous in the winter because someone might walk into it and injure themselves." Catherine Anderson-Dolcini believes that many people were either unaware of what the work represented, or else resented representation of the wheat in abstract form, and that much anger, stemmed from a lack of public involvement during the selection process.The controversy continued for eighteen months. Mayo Graham of the Public Works Capital Region Advisory Committee felt that "both the sculpture and its location" were fine, but was not happy with what he called the "bus 'hut,' bench, and surrounding planting", as he wrote in a letter to Bob Osler, Acting Chief of Environmental Design, dated 9 August 1977:Frankly, I think that we should care enough about the sculpture to highlight it... rather than try to hide or detract from it with these other unattractive elements. I hope there is still the possibility of convincing those in charge to keep the Nugent sculpture in place.

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: In the context of No. 1 Northern, explain the Removals and re-installations and the History.

By July 1978, Baxter had prevailed: local Public Works officials were fed up with the controversy, and with the blessing of the new Public Works Minister Judd Buchanan, announced that No. 1 Northern would be "cut in pieces" and moved "somewhere" on 1 August. Nugent heard about this while working at his studio in Lumsden, Saskatchewan and a legal standoff began. Canadian Artists Representation filed an action to stop the removal of Nugent's work; the sculptor was given one month to choose between two sites, though he felt that neither one was suitable. Accounts of what happened next vary; there were rumours that "it simply disappeared one night and no one claimed to know who was responsible." Late in the night of 31 August, against the protestations of Nugent's lawyer, officials dismantled the work (possibly while legal proceedings were ongoing) when it was cut up and taken to a federal warehouse in Lockport. Nugent said afterwards: "They can decide what to do with it now... It seems futile to sue." But sue Nugent did, for "damages to the artist's reputation", as well as breach of contract.Two years later, No. 1 Northern was reinstalled in front of a Revenue Canada building, the Winnipeg Taxation Centre on Stapon Road. Upset that his work had not been supported the first time around, Nugent said he was not interested in the re-installation, and that since the sculpture had been cut into pieces and reassembled "it wasn't his original work anymore." "I've disowned it... The minute the government vandalized it I disowned it."In 1993, the work was quietly moved a second time, this time to a Winnipeg scrapyard in the salvage area, "in pieces", unbeknownst to Nugent, who asked for the public's help in finding the piece. A Public Works spokesperson later said it was moved because new pathways into the building passed too near the sculpture and the department was concerned "children might climb on it". In Spring 1997, Nugent discovered what had become of his work and complained, along with many other artists, about the way Public Works stored pieces of art it owned. The department made a commitment to restoring the sculpture and finding a prominent, public setting for it following public reaction to news of its deterioration. Later the same year, almost twenty years after it was removed, No. 1 Northern was reinstalled in front of the Grain Commission building. Another two decades later, Di Brandt, Winnipeg's first poet laureate, suggested that as the Winnipeg Arts Council's contemporary public art program has developed, Nugent's work no longer seems risqué: "It brightens up the grey streets, and provides a nice horizontal homage to our Prairie landscape and agricultural heritage among all those tall vertical buildings."

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: Explain the Removals and re-installations about the History of this artwork, No. 1 Northern.

By July 1978, Baxter had prevailed: local Public Works officials were fed up with the controversy, and with the blessing of the new Public Works Minister Judd Buchanan, announced that No. 1 Northern would be "cut in pieces" and moved "somewhere" on 1 August. Nugent heard about this while working at his studio in Lumsden, Saskatchewan and a legal standoff began. Canadian Artists Representation filed an action to stop the removal of Nugent's work; the sculptor was given one month to choose between two sites, though he felt that neither one was suitable. Accounts of what happened next vary; there were rumours that "it simply disappeared one night and no one claimed to know who was responsible." Late in the night of 31 August, against the protestations of Nugent's lawyer, officials dismantled the work (possibly while legal proceedings were ongoing) when it was cut up and taken to a federal warehouse in Lockport. Nugent said afterwards: "They can decide what to do with it now... It seems futile to sue." But sue Nugent did, for "damages to the artist's reputation", as well as breach of contract.Two years later, No. 1 Northern was reinstalled in front of a Revenue Canada building, the Winnipeg Taxation Centre on Stapon Road. Upset that his work had not been supported the first time around, Nugent said he was not interested in the re-installation, and that since the sculpture had been cut into pieces and reassembled "it wasn't his original work anymore." "I've disowned it... The minute the government vandalized it I disowned it."In 1993, the work was quietly moved a second time, this time to a Winnipeg scrapyard in the salvage area, "in pieces", unbeknownst to Nugent, who asked for the public's help in finding the piece. A Public Works spokesperson later said it was moved because new pathways into the building passed too near the sculpture and the department was concerned "children might climb on it". In Spring 1997, Nugent discovered what had become of his work and complained, along with many other artists, about the way Public Works stored pieces of art it owned. The department made a commitment to restoring the sculpture and finding a prominent, public setting for it following public reaction to news of its deterioration. Later the same year, almost twenty years after it was removed, No. 1 Northern was reinstalled in front of the Grain Commission building. Another two decades later, Di Brandt, Winnipeg's first poet laureate, suggested that as the Winnipeg Arts Council's contemporary public art program has developed, Nugent's work no longer seems risqué: "It brightens up the grey streets, and provides a nice horizontal homage to our Prairie landscape and agricultural heritage among all those tall vertical buildings."

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: In No. 1 Northern, how is the Removals and re-installations of the History explained?

By July 1978, Baxter had prevailed: local Public Works officials were fed up with the controversy, and with the blessing of the new Public Works Minister Judd Buchanan, announced that No. 1 Northern would be "cut in pieces" and moved "somewhere" on 1 August. Nugent heard about this while working at his studio in Lumsden, Saskatchewan and a legal standoff began. Canadian Artists Representation filed an action to stop the removal of Nugent's work; the sculptor was given one month to choose between two sites, though he felt that neither one was suitable. Accounts of what happened next vary; there were rumours that "it simply disappeared one night and no one claimed to know who was responsible." Late in the night of 31 August, against the protestations of Nugent's lawyer, officials dismantled the work (possibly while legal proceedings were ongoing) when it was cut up and taken to a federal warehouse in Lockport. Nugent said afterwards: "They can decide what to do with it now... It seems futile to sue." But sue Nugent did, for "damages to the artist's reputation", as well as breach of contract.Two years later, No. 1 Northern was reinstalled in front of a Revenue Canada building, the Winnipeg Taxation Centre on Stapon Road. Upset that his work had not been supported the first time around, Nugent said he was not interested in the re-installation, and that since the sculpture had been cut into pieces and reassembled "it wasn't his original work anymore." "I've disowned it... The minute the government vandalized it I disowned it."In 1993, the work was quietly moved a second time, this time to a Winnipeg scrapyard in the salvage area, "in pieces", unbeknownst to Nugent, who asked for the public's help in finding the piece. A Public Works spokesperson later said it was moved because new pathways into the building passed too near the sculpture and the department was concerned "children might climb on it". In Spring 1997, Nugent discovered what had become of his work and complained, along with many other artists, about the way Public Works stored pieces of art it owned. The department made a commitment to restoring the sculpture and finding a prominent, public setting for it following public reaction to news of its deterioration. Later the same year, almost twenty years after it was removed, No. 1 Northern was reinstalled in front of the Grain Commission building. Another two decades later, Di Brandt, Winnipeg's first poet laureate, suggested that as the Winnipeg Arts Council's contemporary public art program has developed, Nugent's work no longer seems risqué: "It brightens up the grey streets, and provides a nice horizontal homage to our Prairie landscape and agricultural heritage among all those tall vertical buildings."

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


No. 1 Northern

Prompt: Describe the characteristics of the Removals and re-installations in No. 1 Northern's History.

By July 1978, Baxter had prevailed: local Public Works officials were fed up with the controversy, and with the blessing of the new Public Works Minister Judd Buchanan, announced that No. 1 Northern would be "cut in pieces" and moved "somewhere" on 1 August. Nugent heard about this while working at his studio in Lumsden, Saskatchewan and a legal standoff began. Canadian Artists Representation filed an action to stop the removal of Nugent's work; the sculptor was given one month to choose between two sites, though he felt that neither one was suitable. Accounts of what happened next vary; there were rumours that "it simply disappeared one night and no one claimed to know who was responsible." Late in the night of 31 August, against the protestations of Nugent's lawyer, officials dismantled the work (possibly while legal proceedings were ongoing) when it was cut up and taken to a federal warehouse in Lockport. Nugent said afterwards: "They can decide what to do with it now... It seems futile to sue." But sue Nugent did, for "damages to the artist's reputation", as well as breach of contract.Two years later, No. 1 Northern was reinstalled in front of a Revenue Canada building, the Winnipeg Taxation Centre on Stapon Road. Upset that his work had not been supported the first time around, Nugent said he was not interested in the re-installation, and that since the sculpture had been cut into pieces and reassembled "it wasn't his original work anymore." "I've disowned it... The minute the government vandalized it I disowned it."In 1993, the work was quietly moved a second time, this time to a Winnipeg scrapyard in the salvage area, "in pieces", unbeknownst to Nugent, who asked for the public's help in finding the piece. A Public Works spokesperson later said it was moved because new pathways into the building passed too near the sculpture and the department was concerned "children might climb on it". In Spring 1997, Nugent discovered what had become of his work and complained, along with many other artists, about the way Public Works stored pieces of art it owned. The department made a commitment to restoring the sculpture and finding a prominent, public setting for it following public reaction to news of its deterioration. Later the same year, almost twenty years after it was removed, No. 1 Northern was reinstalled in front of the Grain Commission building. Another two decades later, Di Brandt, Winnipeg's first poet laureate, suggested that as the Winnipeg Arts Council's contemporary public art program has developed, Nugent's work no longer seems risqué: "It brightens up the grey streets, and provides a nice horizontal homage to our Prairie landscape and agricultural heritage among all those tall vertical buildings."

''No. 1 Northern'' standing below the [[Canadian Grain Commission

File:Canadian Grain Commission Bild ^ Federal Bld, Main St, Winnipeg - panoramio.jpg


Beyond Curie

Prompt: Focus on Beyond Curie and explain the abstract.

Beyond Curie is a portrait series of women who have made significant contributions in STEM fields. As of November 2018, the series features 42 women, including all 18 female Nobel Prize winners in Physics, Chemistry, and Physiology or Medicine.The series was created by Amanda Phingbodhipakkiya, a former neuroscience researcher and designer who named the project after two-time Nobel prize winner Marie Curie, with the goal of highlighting other important female scientists who are less well known. Beyond Curie has raised $44,172 from 856 backers across two Kickstarter campaigns.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Beyond Curie

Prompt: Explain the abstract of this artwork, Beyond Curie.

Beyond Curie is a portrait series of women who have made significant contributions in STEM fields. As of November 2018, the series features 42 women, including all 18 female Nobel Prize winners in Physics, Chemistry, and Physiology or Medicine.The series was created by Amanda Phingbodhipakkiya, a former neuroscience researcher and designer who named the project after two-time Nobel prize winner Marie Curie, with the goal of highlighting other important female scientists who are less well known. Beyond Curie has raised $44,172 from 856 backers across two Kickstarter campaigns.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Beyond Curie

Prompt: How does Beyond Curie explain its abstract?

Beyond Curie is a portrait series of women who have made significant contributions in STEM fields. As of November 2018, the series features 42 women, including all 18 female Nobel Prize winners in Physics, Chemistry, and Physiology or Medicine.The series was created by Amanda Phingbodhipakkiya, a former neuroscience researcher and designer who named the project after two-time Nobel prize winner Marie Curie, with the goal of highlighting other important female scientists who are less well known. Beyond Curie has raised $44,172 from 856 backers across two Kickstarter campaigns.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Beyond Curie

Prompt: In Beyond Curie, how is the abstract discussed?

Beyond Curie is a portrait series of women who have made significant contributions in STEM fields. As of November 2018, the series features 42 women, including all 18 female Nobel Prize winners in Physics, Chemistry, and Physiology or Medicine.The series was created by Amanda Phingbodhipakkiya, a former neuroscience researcher and designer who named the project after two-time Nobel prize winner Marie Curie, with the goal of highlighting other important female scientists who are less well known. Beyond Curie has raised $44,172 from 856 backers across two Kickstarter campaigns.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Beyond Curie

Prompt: Focus on Beyond Curie and explain the Public exhibits.

Beyond Curie has been on display in an exhibit at the North Carolina Museum of Natural Sciences since March 24, 2017.Phingbodhipakkiya worked with the March for Science organizers to make special Beyond Curie posters that could be freely downloaded and brought to a rally or protest.In partnership with Outside, Phingbodhipakkiya developed five portraits specifically focused on women whose work focused on health and the environment.Phingbodhipakkiya presented some of the Beyond Curie portraits at TEDWomen 2017, where she said the project was "about finding your heroes" and shared stories of female scientists who only learned about some of the historical figures of the series after encountering Beyond Curie.In September and November 2018, the Beyond Curie posters were displayed in a highway tunnel in Breda, Netherlands by 3 Second Gallery.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics


Beyond Curie

Prompt: Explain the Public exhibits of this artwork, Beyond Curie.

Beyond Curie has been on display in an exhibit at the North Carolina Museum of Natural Sciences since March 24, 2017.Phingbodhipakkiya worked with the March for Science organizers to make special Beyond Curie posters that could be freely downloaded and brought to a rally or protest.In partnership with Outside, Phingbodhipakkiya developed five portraits specifically focused on women whose work focused on health and the environment.Phingbodhipakkiya presented some of the Beyond Curie portraits at TEDWomen 2017, where she said the project was "about finding your heroes" and shared stories of female scientists who only learned about some of the historical figures of the series after encountering Beyond Curie.In September and November 2018, the Beyond Curie posters were displayed in a highway tunnel in Breda, Netherlands by 3 Second Gallery.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics


Beyond Curie

Prompt: How does Beyond Curie explain its Public exhibits?

Beyond Curie has been on display in an exhibit at the North Carolina Museum of Natural Sciences since March 24, 2017.Phingbodhipakkiya worked with the March for Science organizers to make special Beyond Curie posters that could be freely downloaded and brought to a rally or protest.In partnership with Outside, Phingbodhipakkiya developed five portraits specifically focused on women whose work focused on health and the environment.Phingbodhipakkiya presented some of the Beyond Curie portraits at TEDWomen 2017, where she said the project was "about finding your heroes" and shared stories of female scientists who only learned about some of the historical figures of the series after encountering Beyond Curie.In September and November 2018, the Beyond Curie posters were displayed in a highway tunnel in Breda, Netherlands by 3 Second Gallery.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics


Beyond Curie

Prompt: In Beyond Curie, how is the Public exhibits discussed?

Beyond Curie has been on display in an exhibit at the North Carolina Museum of Natural Sciences since March 24, 2017.Phingbodhipakkiya worked with the March for Science organizers to make special Beyond Curie posters that could be freely downloaded and brought to a rally or protest.In partnership with Outside, Phingbodhipakkiya developed five portraits specifically focused on women whose work focused on health and the environment.Phingbodhipakkiya presented some of the Beyond Curie portraits at TEDWomen 2017, where she said the project was "about finding your heroes" and shared stories of female scientists who only learned about some of the historical figures of the series after encountering Beyond Curie.In September and November 2018, the Beyond Curie posters were displayed in a highway tunnel in Breda, Netherlands by 3 Second Gallery.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics


Beyond Curie

Prompt: Focus on Beyond Curie and explain the Featured women.

As of December 2018, the women featured in the series are:Lise MeitnerKatherine JohnsonChien-Shiung WuMargaret Ann BulkleyAda LovelaceMae JemisonRita Levi-MontalciniBarbara McClintockMaryam MirzakhaniRosalyn Sussman YalowFrançoise Barré-SinoussiCarol GreiderElizabeth BlackburnGrace HopperMay-Britt MoserLinda BuckYouyou TuRosalind FranklinJocelyn Bell BurnellChristiane Nüsslein-VolhardVera RubinAda YonathSylvia EarleRachel CarsonGertrude B. ElionMary Golda RossIrène Joliot-CurieDorothy Crowfoot HodgkinFarida BedweiLisa NgMildred DresselhausMaria Goeppert-MayerValerie ThomasHelen Rodriguez-TriasEsther LederbergInez FungFlorence BascomDijanna FigueroaKalpana ChawlaRose E. FrischFrances ArnoldDonna Strickland

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Beyond Curie

Prompt: Explain the Featured women of this artwork, Beyond Curie.

As of December 2018, the women featured in the series are:Lise MeitnerKatherine JohnsonChien-Shiung WuMargaret Ann BulkleyAda LovelaceMae JemisonRita Levi-MontalciniBarbara McClintockMaryam MirzakhaniRosalyn Sussman YalowFrançoise Barré-SinoussiCarol GreiderElizabeth BlackburnGrace HopperMay-Britt MoserLinda BuckYouyou TuRosalind FranklinJocelyn Bell BurnellChristiane Nüsslein-VolhardVera RubinAda YonathSylvia EarleRachel CarsonGertrude B. ElionMary Golda RossIrène Joliot-CurieDorothy Crowfoot HodgkinFarida BedweiLisa NgMildred DresselhausMaria Goeppert-MayerValerie ThomasHelen Rodriguez-TriasEsther LederbergInez FungFlorence BascomDijanna FigueroaKalpana ChawlaRose E. FrischFrances ArnoldDonna Strickland

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Beyond Curie

Prompt: How does Beyond Curie explain its Featured women?

As of December 2018, the women featured in the series are:Lise MeitnerKatherine JohnsonChien-Shiung WuMargaret Ann BulkleyAda LovelaceMae JemisonRita Levi-MontalciniBarbara McClintockMaryam MirzakhaniRosalyn Sussman YalowFrançoise Barré-SinoussiCarol GreiderElizabeth BlackburnGrace HopperMay-Britt MoserLinda BuckYouyou TuRosalind FranklinJocelyn Bell BurnellChristiane Nüsslein-VolhardVera RubinAda YonathSylvia EarleRachel CarsonGertrude B. ElionMary Golda RossIrène Joliot-CurieDorothy Crowfoot HodgkinFarida BedweiLisa NgMildred DresselhausMaria Goeppert-MayerValerie ThomasHelen Rodriguez-TriasEsther LederbergInez FungFlorence BascomDijanna FigueroaKalpana ChawlaRose E. FrischFrances ArnoldDonna Strickland

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Beyond Curie

Prompt: In Beyond Curie, how is the Featured women discussed?

As of December 2018, the women featured in the series are:Lise MeitnerKatherine JohnsonChien-Shiung WuMargaret Ann BulkleyAda LovelaceMae JemisonRita Levi-MontalciniBarbara McClintockMaryam MirzakhaniRosalyn Sussman YalowFrançoise Barré-SinoussiCarol GreiderElizabeth BlackburnGrace HopperMay-Britt MoserLinda BuckYouyou TuRosalind FranklinJocelyn Bell BurnellChristiane Nüsslein-VolhardVera RubinAda YonathSylvia EarleRachel CarsonGertrude B. ElionMary Golda RossIrène Joliot-CurieDorothy Crowfoot HodgkinFarida BedweiLisa NgMildred DresselhausMaria Goeppert-MayerValerie ThomasHelen Rodriguez-TriasEsther LederbergInez FungFlorence BascomDijanna FigueroaKalpana ChawlaRose E. FrischFrances ArnoldDonna Strickland

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Beyond Curie

Prompt: Focus on Beyond Curie and explain the Augmented reality.

In additional to graphic illustration, Phingbodhipakkiya worked with technologists at NC State to develop 3D augmented reality animations for a number of the women, including McClintock, Greider, Blackburn, Joliot-Curie, Johnson, Buck, Ng, Jemison, Mirzakhani, Franklin, Rubin, Dresselhaus, Goeppert-Mayer, Tu, Yalow. The augmented reality animations can be seen using a free mobile app called "Beyond Curie" available on Google Play and App Store.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Beyond Curie

Prompt: Explain the Augmented reality of this artwork, Beyond Curie.

In additional to graphic illustration, Phingbodhipakkiya worked with technologists at NC State to develop 3D augmented reality animations for a number of the women, including McClintock, Greider, Blackburn, Joliot-Curie, Johnson, Buck, Ng, Jemison, Mirzakhani, Franklin, Rubin, Dresselhaus, Goeppert-Mayer, Tu, Yalow. The augmented reality animations can be seen using a free mobile app called "Beyond Curie" available on Google Play and App Store.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Beyond Curie

Prompt: How does Beyond Curie explain its Augmented reality?

In additional to graphic illustration, Phingbodhipakkiya worked with technologists at NC State to develop 3D augmented reality animations for a number of the women, including McClintock, Greider, Blackburn, Joliot-Curie, Johnson, Buck, Ng, Jemison, Mirzakhani, Franklin, Rubin, Dresselhaus, Goeppert-Mayer, Tu, Yalow. The augmented reality animations can be seen using a free mobile app called "Beyond Curie" available on Google Play and App Store.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Beyond Curie

Prompt: In Beyond Curie, how is the Augmented reality discussed?

In additional to graphic illustration, Phingbodhipakkiya worked with technologists at NC State to develop 3D augmented reality animations for a number of the women, including McClintock, Greider, Blackburn, Joliot-Curie, Johnson, Buck, Ng, Jemison, Mirzakhani, Franklin, Rubin, Dresselhaus, Goeppert-Mayer, Tu, Yalow. The augmented reality animations can be seen using a free mobile app called "Beyond Curie" available on Google Play and App Store.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Beyond Curie

Prompt: Focus on Beyond Curie and explain the Recognition.

Beyond Curie has won several awards, including 1st Place in Multimedia / Interactive Media in the 2017 International Design Awards and the Red Dot 2017 design award.Phingbodhipakkiya was invited to speak about the project to the employees at Google in November 2018. The project was featured in a blog post by venture capitalist and Kickstarter board member Fred Wilson.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Beyond Curie

Prompt: Explain the Recognition of this artwork, Beyond Curie.

Beyond Curie has won several awards, including 1st Place in Multimedia / Interactive Media in the 2017 International Design Awards and the Red Dot 2017 design award.Phingbodhipakkiya was invited to speak about the project to the employees at Google in November 2018. The project was featured in a blog post by venture capitalist and Kickstarter board member Fred Wilson.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Beyond Curie

Prompt: How does Beyond Curie explain its Recognition?

Beyond Curie has won several awards, including 1st Place in Multimedia / Interactive Media in the 2017 International Design Awards and the Red Dot 2017 design award.Phingbodhipakkiya was invited to speak about the project to the employees at Google in November 2018. The project was featured in a blog post by venture capitalist and Kickstarter board member Fred Wilson.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Beyond Curie

Prompt: In Beyond Curie, how is the Recognition discussed?

Beyond Curie has won several awards, including 1st Place in Multimedia / Interactive Media in the 2017 International Design Awards and the Red Dot 2017 design award.Phingbodhipakkiya was invited to speak about the project to the employees at Google in November 2018. The project was featured in a blog post by venture capitalist and Kickstarter board member Fred Wilson.

Category:Women in science and technology

Category:Science education in the United States

Science, technology, engineering, and mathematics

North Carolina Museum of Natural Sciences


Statue of Bruncvík, Charles Bridge

Prompt: Focus on Statue of Bruncvík, Charles Bridge and explain the abstract.

The statue of Bruncvík (Czech: Socha Bruncvíka) is an outdoor sculpture by Ludvík Šimek in 1884, installed on the south side of the Charles Bridge in Prague, Czech Republic.

Category:Monuments and memorials in Prague


Statue of Bruncvík, Charles Bridge

Prompt: Explain the abstract of this artwork, Statue of Bruncvík, Charles Bridge.

The statue of Bruncvík (Czech: Socha Bruncvíka) is an outdoor sculpture by Ludvík Šimek in 1884, installed on the south side of the Charles Bridge in Prague, Czech Republic.

Category:Monuments and memorials in Prague


Statue of Bruncvík, Charles Bridge

Prompt: How does Statue of Bruncvík, Charles Bridge explain its abstract?

The statue of Bruncvík (Czech: Socha Bruncvíka) is an outdoor sculpture by Ludvík Šimek in 1884, installed on the south side of the Charles Bridge in Prague, Czech Republic.

Category:Monuments and memorials in Prague


Statue of Bruncvík, Charles Bridge

Prompt: In Statue of Bruncvík, Charles Bridge, how is the abstract discussed?

The statue of Bruncvík (Czech: Socha Bruncvíka) is an outdoor sculpture by Ludvík Šimek in 1884, installed on the south side of the Charles Bridge in Prague, Czech Republic.

Category:Monuments and memorials in Prague


A Balloon Site, Coventry

Prompt: Focus on A Balloon Site, Coventry and explain the abstract.

A Balloon Site, Coventry is an oil-on-canvas painting undertaken in 1942 by the British artist Laura Knight. It portrays a group of people—mostly women—working to launch a barrage balloon on the outside of Coventry, an industrial city in the Midlands that was the target of a German bombing raid in November 1940, when over 10,000 incendiary bombs were dropped on the city.Knight had painted In for Repairs, showing members of the Women's Auxiliary Air Force (WAAF) repairing a damaged barrage balloon, in early 1942. The Air Ministry was so impressed that they asked her to paint the WAAF in action. She was commissioned by the War Artists' Advisory Committee (WAAC) and paid 100 guineas for the work, which was undertaken in July and August 1942. A Balloon Site was displayed at the 1943 Royal Academy Summer Exhibition, along with Ruby Loftus Screwing a Breech-ring (1943).

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II


A Balloon Site, Coventry

Prompt: Explain the abstract of this artwork, A Balloon Site, Coventry.

A Balloon Site, Coventry is an oil-on-canvas painting undertaken in 1942 by the British artist Laura Knight. It portrays a group of people—mostly women—working to launch a barrage balloon on the outside of Coventry, an industrial city in the Midlands that was the target of a German bombing raid in November 1940, when over 10,000 incendiary bombs were dropped on the city.Knight had painted In for Repairs, showing members of the Women's Auxiliary Air Force (WAAF) repairing a damaged barrage balloon, in early 1942. The Air Ministry was so impressed that they asked her to paint the WAAF in action. She was commissioned by the War Artists' Advisory Committee (WAAC) and paid 100 guineas for the work, which was undertaken in July and August 1942. A Balloon Site was displayed at the 1943 Royal Academy Summer Exhibition, along with Ruby Loftus Screwing a Breech-ring (1943).

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II


A Balloon Site, Coventry

Prompt: How does A Balloon Site, Coventry explain its abstract?

A Balloon Site, Coventry is an oil-on-canvas painting undertaken in 1942 by the British artist Laura Knight. It portrays a group of people—mostly women—working to launch a barrage balloon on the outside of Coventry, an industrial city in the Midlands that was the target of a German bombing raid in November 1940, when over 10,000 incendiary bombs were dropped on the city.Knight had painted In for Repairs, showing members of the Women's Auxiliary Air Force (WAAF) repairing a damaged barrage balloon, in early 1942. The Air Ministry was so impressed that they asked her to paint the WAAF in action. She was commissioned by the War Artists' Advisory Committee (WAAC) and paid 100 guineas for the work, which was undertaken in July and August 1942. A Balloon Site was displayed at the 1943 Royal Academy Summer Exhibition, along with Ruby Loftus Screwing a Breech-ring (1943).

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II


A Balloon Site, Coventry

Prompt: In A Balloon Site, Coventry, how is the abstract discussed?

A Balloon Site, Coventry is an oil-on-canvas painting undertaken in 1942 by the British artist Laura Knight. It portrays a group of people—mostly women—working to launch a barrage balloon on the outside of Coventry, an industrial city in the Midlands that was the target of a German bombing raid in November 1940, when over 10,000 incendiary bombs were dropped on the city.Knight had painted In for Repairs, showing members of the Women's Auxiliary Air Force (WAAF) repairing a damaged barrage balloon, in early 1942. The Air Ministry was so impressed that they asked her to paint the WAAF in action. She was commissioned by the War Artists' Advisory Committee (WAAC) and paid 100 guineas for the work, which was undertaken in July and August 1942. A Balloon Site was displayed at the 1943 Royal Academy Summer Exhibition, along with Ruby Loftus Screwing a Breech-ring (1943).

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II


A Balloon Site, Coventry

Prompt: Focus on A Balloon Site, Coventry and explain the Background.

From March 1939, Coventry had been protected by barrage balloons; the city was an industrial target and contained aircraft factories on the outskirts. The balloons were filled with hydrogen and were either set in fixed sites, or adapted for mobile deployment. They were fixed by steel cables which forced bombers to fly at a higher altitude than they would have preferred. In this way the bombing was less accurate, and the aeroplanes more vulnerable to ground-based anti-aircraft fire. The protection was not infallible, and, on 14 November 1940 Coventry was the target of a German bombing raid when over 10,000 incendiary bombs were dropped on the city. From April 1941 women were used to operate the balloons, a crew of fourteen women replacing the ten men that did so previously.

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II


A Balloon Site, Coventry

Prompt: Explain the Background of this artwork, A Balloon Site, Coventry.

From March 1939, Coventry had been protected by barrage balloons; the city was an industrial target and contained aircraft factories on the outskirts. The balloons were filled with hydrogen and were either set in fixed sites, or adapted for mobile deployment. They were fixed by steel cables which forced bombers to fly at a higher altitude than they would have preferred. In this way the bombing was less accurate, and the aeroplanes more vulnerable to ground-based anti-aircraft fire. The protection was not infallible, and, on 14 November 1940 Coventry was the target of a German bombing raid when over 10,000 incendiary bombs were dropped on the city. From April 1941 women were used to operate the balloons, a crew of fourteen women replacing the ten men that did so previously.

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II


A Balloon Site, Coventry

Prompt: How does A Balloon Site, Coventry explain its Background?

From March 1939, Coventry had been protected by barrage balloons; the city was an industrial target and contained aircraft factories on the outskirts. The balloons were filled with hydrogen and were either set in fixed sites, or adapted for mobile deployment. They were fixed by steel cables which forced bombers to fly at a higher altitude than they would have preferred. In this way the bombing was less accurate, and the aeroplanes more vulnerable to ground-based anti-aircraft fire. The protection was not infallible, and, on 14 November 1940 Coventry was the target of a German bombing raid when over 10,000 incendiary bombs were dropped on the city. From April 1941 women were used to operate the balloons, a crew of fourteen women replacing the ten men that did so previously.

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II


A Balloon Site, Coventry

Prompt: In A Balloon Site, Coventry, how is the Background discussed?

From March 1939, Coventry had been protected by barrage balloons; the city was an industrial target and contained aircraft factories on the outskirts. The balloons were filled with hydrogen and were either set in fixed sites, or adapted for mobile deployment. They were fixed by steel cables which forced bombers to fly at a higher altitude than they would have preferred. In this way the bombing was less accurate, and the aeroplanes more vulnerable to ground-based anti-aircraft fire. The protection was not infallible, and, on 14 November 1940 Coventry was the target of a German bombing raid when over 10,000 incendiary bombs were dropped on the city. From April 1941 women were used to operate the balloons, a crew of fourteen women replacing the ten men that did so previously.

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II


A Balloon Site, Coventry

Prompt: Focus on A Balloon Site, Coventry and explain the History.

During the Second World War the British government formed the War Artists' Advisory Committee (WAAC) under the chairmanship of Sir Kenneth Clark, the director of the National Gallery. The committee was "to draw up a list of artists qualified to record the war at home and abroad". One of those commissioned on several occasions was the British painter Laura Knight, who had painted for the Canadian government during the First World War. By early 1942 she had painted four pictures for the WAAF; the most recent was In for Repairs, showing members of the Women's Auxiliary Air Force (WAAF) repairing a damaged barrage balloon. The Air Ministry was impressed with the picture and its potential to help with recruiting. The Ministry asked the WAAF if Knight could be commissioned again, and, in October 1941, she received a request from Mr Dickey, the Secretary of the WAAC, to paint members of the Women's Auxiliary Air Force based at RAF Wythall—the regional headquarters of RAF Balloon Command—which was six miles (ten kilometres) from Birmingham. She worked on the piece in July and August 1942, and was paid 100 guineas for the work.A Balloon Site was displayed at the 1943 Royal Academy Summer Exhibition, as was Ruby Loftus Screwing a Breech-ring, a painting Knight had just completed. Both works were warmly received. As at 2024, the painting is held by the Imperial War Museum.

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II


A Balloon Site, Coventry

Prompt: Explain the History of this artwork, A Balloon Site, Coventry.

During the Second World War the British government formed the War Artists' Advisory Committee (WAAC) under the chairmanship of Sir Kenneth Clark, the director of the National Gallery. The committee was "to draw up a list of artists qualified to record the war at home and abroad". One of those commissioned on several occasions was the British painter Laura Knight, who had painted for the Canadian government during the First World War. By early 1942 she had painted four pictures for the WAAF; the most recent was In for Repairs, showing members of the Women's Auxiliary Air Force (WAAF) repairing a damaged barrage balloon. The Air Ministry was impressed with the picture and its potential to help with recruiting. The Ministry asked the WAAF if Knight could be commissioned again, and, in October 1941, she received a request from Mr Dickey, the Secretary of the WAAC, to paint members of the Women's Auxiliary Air Force based at RAF Wythall—the regional headquarters of RAF Balloon Command—which was six miles (ten kilometres) from Birmingham. She worked on the piece in July and August 1942, and was paid 100 guineas for the work.A Balloon Site was displayed at the 1943 Royal Academy Summer Exhibition, as was Ruby Loftus Screwing a Breech-ring, a painting Knight had just completed. Both works were warmly received. As at 2024, the painting is held by the Imperial War Museum.

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II