Man at the Crossroads

Prompt: Explain the Aftermath of this artwork, Man at the Crossroads.

Despite the disagreement over Man at the Crossroads, Nelson Rockefeller still admired Rivera's work, and the two had an amicable relationship. Years afterward, he would collect paintings and loan them to Rivera's art shows. However, according to Daniel Okrent, his mother felt "betrayed" by Rivera, and they were not known to see each other again after the dispute had subsided. As a result of the controversy, John Rockefeller saw to it that no artwork would be commissioned for Rockefeller Center without his explicit approval. As for Rivera, Bertram Wolfe wrote that the artist commissioned paintings for movements that opposed the Rockefellers' "continued rule".After Man at the Crossroads was demolished, Brangwyn was asked to exclude Jesus Christ from his own mural in the RCA Building's lobby, which depicted the Sermon on the Mount.  Todd reportedly made the request because Christ could have been depicted in many different ways, but unlike with Man at the Crossroads, there was very little controversy. Brangwyn wrote to John Rockefeller to ask for reconsideration of this request. Brangwyn's mural, completed in December 1933, ultimately featured a depiction of Christ with his back turned. At the mural's unveiling, Todd said that Rockefeller Center management had not cajoled Brangwyn in any way.Meanwhile, replacements for Man at the Crossroads were being considered, and Rockefeller Center Inc. approached many artists for possible offers. Initially, Picasso showed interest in the commission, but Todd declined the offer because Picasso refused to show a preview of what he was going to paint, and because Picasso would not negotiate from his stated price of $32,000. In 1937, Sert agreed to paint the replacement mural for $27,000. The mural, titled American Progress, depicts a vast allegorical scene of men constructing modern America, and contains figures of Abraham Lincoln, Mahatma Gandhi, and Ralph Waldo Emerson. American Progress wraps around the west wall of 30 Rockefeller Plaza's Grand Lobby.According to American Heritage magazine, the controversy influenced Franklin D. Roosevelt’s reaction to the idea of a Federal Art Project and similar New Deal-funded public art initiatives: “Commenting on the suggestion that the federal government should undertake a relief program for unemployed artists, Roosevelt expressed some misgiving: he didn't want, he told a friend in 1933, ‘a lot of young enthusiasts painting Lenin's head on the Justice Building.’“ The New Deal art programs were ultimately funded and persisted until the height of World War II, and in the end, “The New Deal administration did its best to give American artists easy rein, recognizing that freedom and originality are inseparable. There were exceptional cases, especially in connection with over a thousand murals executed under Treasury Department auspices for United States post offices across the country; but in general the absence of censorship was remarkable.”

Now Museum, Now You Don't (The Simpsons)

Great Fortune: The Epic of Rockefeller Center

File:Palacio de Bellas Artes - Mural El Hombre in cruce de caminos Rivera 3.jpg

Category:Cultural depictions of Vladimir Lenin

alt=The central scene. A workman is depicted controlling machinery. Before him, a giant fist emerges holding an orb depicting the recombination of atoms and dividing cells in acts of chemical and biological generation.

hdl-access=free }}</ref><ref name="yale/1837891">{{cite web

Detail of ''Man, Controller of the Universe'', fresco at [[Palacio de Bellas Artes

United States Department of the Interior

alt=Part of "American Progress", the mural that replaced "Man at the Crossroads"

América Tropical: Oprimida y Destrozada por los Imperialismos

The controversial portrait of Lenin, as seen in the recreated painting.

title=RCA Building Murals (by Sert and Brangwyn) (New York, NY) : “American Progress” detail, workmen deal with colossal statues of creative muses - Yale University Library

alt=Detail of Man, Controller of the Universe, showing Leon Trotski, Friedrich Engels, and Karl Marx

Information desk panel, ''American Progress, the Triumph of Man's Accomplishments Through Physical and Mental Labor'',<ref name="003.34.2.369-386">{{cite journal

Category:Fresco paintings in the United States

LAPD Red Squad raid on John Reed Club art show

title=The Atlántida of Capitalism. The murals of Sert in the decorative programme of New York’s Rockefeller Center

File:Mexico - Bellas Artes - Fresque Riviera « Man at the Crossroads ».JPG

File:Rockefeller Center entrance (4674369705).jpg


Man at the Crossroads

Prompt: How does Man at the Crossroads explain its Aftermath?

Despite the disagreement over Man at the Crossroads, Nelson Rockefeller still admired Rivera's work, and the two had an amicable relationship. Years afterward, he would collect paintings and loan them to Rivera's art shows. However, according to Daniel Okrent, his mother felt "betrayed" by Rivera, and they were not known to see each other again after the dispute had subsided. As a result of the controversy, John Rockefeller saw to it that no artwork would be commissioned for Rockefeller Center without his explicit approval. As for Rivera, Bertram Wolfe wrote that the artist commissioned paintings for movements that opposed the Rockefellers' "continued rule".After Man at the Crossroads was demolished, Brangwyn was asked to exclude Jesus Christ from his own mural in the RCA Building's lobby, which depicted the Sermon on the Mount.  Todd reportedly made the request because Christ could have been depicted in many different ways, but unlike with Man at the Crossroads, there was very little controversy. Brangwyn wrote to John Rockefeller to ask for reconsideration of this request. Brangwyn's mural, completed in December 1933, ultimately featured a depiction of Christ with his back turned. At the mural's unveiling, Todd said that Rockefeller Center management had not cajoled Brangwyn in any way.Meanwhile, replacements for Man at the Crossroads were being considered, and Rockefeller Center Inc. approached many artists for possible offers. Initially, Picasso showed interest in the commission, but Todd declined the offer because Picasso refused to show a preview of what he was going to paint, and because Picasso would not negotiate from his stated price of $32,000. In 1937, Sert agreed to paint the replacement mural for $27,000. The mural, titled American Progress, depicts a vast allegorical scene of men constructing modern America, and contains figures of Abraham Lincoln, Mahatma Gandhi, and Ralph Waldo Emerson. American Progress wraps around the west wall of 30 Rockefeller Plaza's Grand Lobby.According to American Heritage magazine, the controversy influenced Franklin D. Roosevelt’s reaction to the idea of a Federal Art Project and similar New Deal-funded public art initiatives: “Commenting on the suggestion that the federal government should undertake a relief program for unemployed artists, Roosevelt expressed some misgiving: he didn't want, he told a friend in 1933, ‘a lot of young enthusiasts painting Lenin's head on the Justice Building.’“ The New Deal art programs were ultimately funded and persisted until the height of World War II, and in the end, “The New Deal administration did its best to give American artists easy rein, recognizing that freedom and originality are inseparable. There were exceptional cases, especially in connection with over a thousand murals executed under Treasury Department auspices for United States post offices across the country; but in general the absence of censorship was remarkable.”

Now Museum, Now You Don't (The Simpsons)

Great Fortune: The Epic of Rockefeller Center

File:Palacio de Bellas Artes - Mural El Hombre in cruce de caminos Rivera 3.jpg

Category:Cultural depictions of Vladimir Lenin

alt=The central scene. A workman is depicted controlling machinery. Before him, a giant fist emerges holding an orb depicting the recombination of atoms and dividing cells in acts of chemical and biological generation.

hdl-access=free }}</ref><ref name="yale/1837891">{{cite web

Detail of ''Man, Controller of the Universe'', fresco at [[Palacio de Bellas Artes

United States Department of the Interior

alt=Part of "American Progress", the mural that replaced "Man at the Crossroads"

América Tropical: Oprimida y Destrozada por los Imperialismos

The controversial portrait of Lenin, as seen in the recreated painting.

title=RCA Building Murals (by Sert and Brangwyn) (New York, NY) : “American Progress” detail, workmen deal with colossal statues of creative muses - Yale University Library

alt=Detail of Man, Controller of the Universe, showing Leon Trotski, Friedrich Engels, and Karl Marx

Information desk panel, ''American Progress, the Triumph of Man's Accomplishments Through Physical and Mental Labor'',<ref name="003.34.2.369-386">{{cite journal

Category:Fresco paintings in the United States

LAPD Red Squad raid on John Reed Club art show

title=The Atlántida of Capitalism. The murals of Sert in the decorative programme of New York’s Rockefeller Center

File:Mexico - Bellas Artes - Fresque Riviera « Man at the Crossroads ».JPG

File:Rockefeller Center entrance (4674369705).jpg


Man at the Crossroads

Prompt: In Man at the Crossroads, how is the Aftermath discussed?

Despite the disagreement over Man at the Crossroads, Nelson Rockefeller still admired Rivera's work, and the two had an amicable relationship. Years afterward, he would collect paintings and loan them to Rivera's art shows. However, according to Daniel Okrent, his mother felt "betrayed" by Rivera, and they were not known to see each other again after the dispute had subsided. As a result of the controversy, John Rockefeller saw to it that no artwork would be commissioned for Rockefeller Center without his explicit approval. As for Rivera, Bertram Wolfe wrote that the artist commissioned paintings for movements that opposed the Rockefellers' "continued rule".After Man at the Crossroads was demolished, Brangwyn was asked to exclude Jesus Christ from his own mural in the RCA Building's lobby, which depicted the Sermon on the Mount.  Todd reportedly made the request because Christ could have been depicted in many different ways, but unlike with Man at the Crossroads, there was very little controversy. Brangwyn wrote to John Rockefeller to ask for reconsideration of this request. Brangwyn's mural, completed in December 1933, ultimately featured a depiction of Christ with his back turned. At the mural's unveiling, Todd said that Rockefeller Center management had not cajoled Brangwyn in any way.Meanwhile, replacements for Man at the Crossroads were being considered, and Rockefeller Center Inc. approached many artists for possible offers. Initially, Picasso showed interest in the commission, but Todd declined the offer because Picasso refused to show a preview of what he was going to paint, and because Picasso would not negotiate from his stated price of $32,000. In 1937, Sert agreed to paint the replacement mural for $27,000. The mural, titled American Progress, depicts a vast allegorical scene of men constructing modern America, and contains figures of Abraham Lincoln, Mahatma Gandhi, and Ralph Waldo Emerson. American Progress wraps around the west wall of 30 Rockefeller Plaza's Grand Lobby.According to American Heritage magazine, the controversy influenced Franklin D. Roosevelt’s reaction to the idea of a Federal Art Project and similar New Deal-funded public art initiatives: “Commenting on the suggestion that the federal government should undertake a relief program for unemployed artists, Roosevelt expressed some misgiving: he didn't want, he told a friend in 1933, ‘a lot of young enthusiasts painting Lenin's head on the Justice Building.’“ The New Deal art programs were ultimately funded and persisted until the height of World War II, and in the end, “The New Deal administration did its best to give American artists easy rein, recognizing that freedom and originality are inseparable. There were exceptional cases, especially in connection with over a thousand murals executed under Treasury Department auspices for United States post offices across the country; but in general the absence of censorship was remarkable.”

Now Museum, Now You Don't (The Simpsons)

Great Fortune: The Epic of Rockefeller Center

File:Palacio de Bellas Artes - Mural El Hombre in cruce de caminos Rivera 3.jpg

Category:Cultural depictions of Vladimir Lenin

alt=The central scene. A workman is depicted controlling machinery. Before him, a giant fist emerges holding an orb depicting the recombination of atoms and dividing cells in acts of chemical and biological generation.

hdl-access=free }}</ref><ref name="yale/1837891">{{cite web

Detail of ''Man, Controller of the Universe'', fresco at [[Palacio de Bellas Artes

United States Department of the Interior

alt=Part of "American Progress", the mural that replaced "Man at the Crossroads"

América Tropical: Oprimida y Destrozada por los Imperialismos

The controversial portrait of Lenin, as seen in the recreated painting.

title=RCA Building Murals (by Sert and Brangwyn) (New York, NY) : “American Progress” detail, workmen deal with colossal statues of creative muses - Yale University Library

alt=Detail of Man, Controller of the Universe, showing Leon Trotski, Friedrich Engels, and Karl Marx

Information desk panel, ''American Progress, the Triumph of Man's Accomplishments Through Physical and Mental Labor'',<ref name="003.34.2.369-386">{{cite journal

Category:Fresco paintings in the United States

LAPD Red Squad raid on John Reed Club art show

title=The Atlántida of Capitalism. The murals of Sert in the decorative programme of New York’s Rockefeller Center

File:Mexico - Bellas Artes - Fresque Riviera « Man at the Crossroads ».JPG

File:Rockefeller Center entrance (4674369705).jpg


Man at the Crossroads

Prompt: Focus on Man at the Crossroads and explain the Man, Controller of the Universe.

Concerned that Nelson Rockefeller would destroy the work, Rivera had asked Lucienne Bloch to take photographs of the mural before it could be destroyed. In late 1933, Rivera went to Mexico City and persuaded the Mexican government to let him repaint the mural on a blank wall at the Palacio de Bellas Artes. In his biography of Rivera, Bertram Wolfe stated that the artist did not care for the location of the mural this time around. Rather, Wolfe wrote, Rivera had been "looking for a public place where he could let men see what kind of painting it was that these 'patrons of the arts' had chosen to destroy".Using the photographs as a reference, Rivera repainted the mural, though at a smaller scale, where it was renamed Man, Controller of the Universe. The composition was almost identical, but the central figure was moved slightly to be aligned with the supporting mast of the cylindrical telescope above him. The new version includes a portrait of Leon Trotsky alongside Karl Marx and Friedrich Engels at the right. Others appear at the left, including Charles Darwin. Beside Darwin is John Rockefeller, Jr, a lifelong teetotaler, drinking in a nightclub with a woman. Above their heads is a dish of syphilis bacteria.

Now Museum, Now You Don't (The Simpsons)

Great Fortune: The Epic of Rockefeller Center

File:Palacio de Bellas Artes - Mural El Hombre in cruce de caminos Rivera 3.jpg

Category:Cultural depictions of Vladimir Lenin

alt=The central scene. A workman is depicted controlling machinery. Before him, a giant fist emerges holding an orb depicting the recombination of atoms and dividing cells in acts of chemical and biological generation.

hdl-access=free }}</ref><ref name="yale/1837891">{{cite web

Detail of ''Man, Controller of the Universe'', fresco at [[Palacio de Bellas Artes

United States Department of the Interior

alt=Part of "American Progress", the mural that replaced "Man at the Crossroads"

América Tropical: Oprimida y Destrozada por los Imperialismos

The controversial portrait of Lenin, as seen in the recreated painting.

title=RCA Building Murals (by Sert and Brangwyn) (New York, NY) : “American Progress” detail, workmen deal with colossal statues of creative muses - Yale University Library

alt=Detail of Man, Controller of the Universe, showing Leon Trotski, Friedrich Engels, and Karl Marx

Information desk panel, ''American Progress, the Triumph of Man's Accomplishments Through Physical and Mental Labor'',<ref name="003.34.2.369-386">{{cite journal

Category:Fresco paintings in the United States

LAPD Red Squad raid on John Reed Club art show

title=The Atlántida of Capitalism. The murals of Sert in the decorative programme of New York’s Rockefeller Center

File:Mexico - Bellas Artes - Fresque Riviera « Man at the Crossroads ».JPG

File:Rockefeller Center entrance (4674369705).jpg


Man at the Crossroads

Prompt: Explain the Man, Controller of the Universe of this artwork, Man at the Crossroads.

Concerned that Nelson Rockefeller would destroy the work, Rivera had asked Lucienne Bloch to take photographs of the mural before it could be destroyed. In late 1933, Rivera went to Mexico City and persuaded the Mexican government to let him repaint the mural on a blank wall at the Palacio de Bellas Artes. In his biography of Rivera, Bertram Wolfe stated that the artist did not care for the location of the mural this time around. Rather, Wolfe wrote, Rivera had been "looking for a public place where he could let men see what kind of painting it was that these 'patrons of the arts' had chosen to destroy".Using the photographs as a reference, Rivera repainted the mural, though at a smaller scale, where it was renamed Man, Controller of the Universe. The composition was almost identical, but the central figure was moved slightly to be aligned with the supporting mast of the cylindrical telescope above him. The new version includes a portrait of Leon Trotsky alongside Karl Marx and Friedrich Engels at the right. Others appear at the left, including Charles Darwin. Beside Darwin is John Rockefeller, Jr, a lifelong teetotaler, drinking in a nightclub with a woman. Above their heads is a dish of syphilis bacteria.

Now Museum, Now You Don't (The Simpsons)

Great Fortune: The Epic of Rockefeller Center

File:Palacio de Bellas Artes - Mural El Hombre in cruce de caminos Rivera 3.jpg

Category:Cultural depictions of Vladimir Lenin

alt=The central scene. A workman is depicted controlling machinery. Before him, a giant fist emerges holding an orb depicting the recombination of atoms and dividing cells in acts of chemical and biological generation.

hdl-access=free }}</ref><ref name="yale/1837891">{{cite web

Detail of ''Man, Controller of the Universe'', fresco at [[Palacio de Bellas Artes

United States Department of the Interior

alt=Part of "American Progress", the mural that replaced "Man at the Crossroads"

América Tropical: Oprimida y Destrozada por los Imperialismos

The controversial portrait of Lenin, as seen in the recreated painting.

title=RCA Building Murals (by Sert and Brangwyn) (New York, NY) : “American Progress” detail, workmen deal with colossal statues of creative muses - Yale University Library

alt=Detail of Man, Controller of the Universe, showing Leon Trotski, Friedrich Engels, and Karl Marx

Information desk panel, ''American Progress, the Triumph of Man's Accomplishments Through Physical and Mental Labor'',<ref name="003.34.2.369-386">{{cite journal

Category:Fresco paintings in the United States

LAPD Red Squad raid on John Reed Club art show

title=The Atlántida of Capitalism. The murals of Sert in the decorative programme of New York’s Rockefeller Center

File:Mexico - Bellas Artes - Fresque Riviera « Man at the Crossroads ».JPG

File:Rockefeller Center entrance (4674369705).jpg


Man at the Crossroads

Prompt: How does Man at the Crossroads explain its Man, Controller of the Universe?

Concerned that Nelson Rockefeller would destroy the work, Rivera had asked Lucienne Bloch to take photographs of the mural before it could be destroyed. In late 1933, Rivera went to Mexico City and persuaded the Mexican government to let him repaint the mural on a blank wall at the Palacio de Bellas Artes. In his biography of Rivera, Bertram Wolfe stated that the artist did not care for the location of the mural this time around. Rather, Wolfe wrote, Rivera had been "looking for a public place where he could let men see what kind of painting it was that these 'patrons of the arts' had chosen to destroy".Using the photographs as a reference, Rivera repainted the mural, though at a smaller scale, where it was renamed Man, Controller of the Universe. The composition was almost identical, but the central figure was moved slightly to be aligned with the supporting mast of the cylindrical telescope above him. The new version includes a portrait of Leon Trotsky alongside Karl Marx and Friedrich Engels at the right. Others appear at the left, including Charles Darwin. Beside Darwin is John Rockefeller, Jr, a lifelong teetotaler, drinking in a nightclub with a woman. Above their heads is a dish of syphilis bacteria.

Now Museum, Now You Don't (The Simpsons)

Great Fortune: The Epic of Rockefeller Center

File:Palacio de Bellas Artes - Mural El Hombre in cruce de caminos Rivera 3.jpg

Category:Cultural depictions of Vladimir Lenin

alt=The central scene. A workman is depicted controlling machinery. Before him, a giant fist emerges holding an orb depicting the recombination of atoms and dividing cells in acts of chemical and biological generation.

hdl-access=free }}</ref><ref name="yale/1837891">{{cite web

Detail of ''Man, Controller of the Universe'', fresco at [[Palacio de Bellas Artes

United States Department of the Interior

alt=Part of "American Progress", the mural that replaced "Man at the Crossroads"

América Tropical: Oprimida y Destrozada por los Imperialismos

The controversial portrait of Lenin, as seen in the recreated painting.

title=RCA Building Murals (by Sert and Brangwyn) (New York, NY) : “American Progress” detail, workmen deal with colossal statues of creative muses - Yale University Library

alt=Detail of Man, Controller of the Universe, showing Leon Trotski, Friedrich Engels, and Karl Marx

Information desk panel, ''American Progress, the Triumph of Man's Accomplishments Through Physical and Mental Labor'',<ref name="003.34.2.369-386">{{cite journal

Category:Fresco paintings in the United States

LAPD Red Squad raid on John Reed Club art show

title=The Atlántida of Capitalism. The murals of Sert in the decorative programme of New York’s Rockefeller Center

File:Mexico - Bellas Artes - Fresque Riviera « Man at the Crossroads ».JPG

File:Rockefeller Center entrance (4674369705).jpg


Man at the Crossroads

Prompt: In Man at the Crossroads, how is the Man, Controller of the Universe discussed?

Concerned that Nelson Rockefeller would destroy the work, Rivera had asked Lucienne Bloch to take photographs of the mural before it could be destroyed. In late 1933, Rivera went to Mexico City and persuaded the Mexican government to let him repaint the mural on a blank wall at the Palacio de Bellas Artes. In his biography of Rivera, Bertram Wolfe stated that the artist did not care for the location of the mural this time around. Rather, Wolfe wrote, Rivera had been "looking for a public place where he could let men see what kind of painting it was that these 'patrons of the arts' had chosen to destroy".Using the photographs as a reference, Rivera repainted the mural, though at a smaller scale, where it was renamed Man, Controller of the Universe. The composition was almost identical, but the central figure was moved slightly to be aligned with the supporting mast of the cylindrical telescope above him. The new version includes a portrait of Leon Trotsky alongside Karl Marx and Friedrich Engels at the right. Others appear at the left, including Charles Darwin. Beside Darwin is John Rockefeller, Jr, a lifelong teetotaler, drinking in a nightclub with a woman. Above their heads is a dish of syphilis bacteria.

Now Museum, Now You Don't (The Simpsons)

Great Fortune: The Epic of Rockefeller Center

File:Palacio de Bellas Artes - Mural El Hombre in cruce de caminos Rivera 3.jpg

Category:Cultural depictions of Vladimir Lenin

alt=The central scene. A workman is depicted controlling machinery. Before him, a giant fist emerges holding an orb depicting the recombination of atoms and dividing cells in acts of chemical and biological generation.

hdl-access=free }}</ref><ref name="yale/1837891">{{cite web

Detail of ''Man, Controller of the Universe'', fresco at [[Palacio de Bellas Artes

United States Department of the Interior

alt=Part of "American Progress", the mural that replaced "Man at the Crossroads"

América Tropical: Oprimida y Destrozada por los Imperialismos

The controversial portrait of Lenin, as seen in the recreated painting.

title=RCA Building Murals (by Sert and Brangwyn) (New York, NY) : “American Progress” detail, workmen deal with colossal statues of creative muses - Yale University Library

alt=Detail of Man, Controller of the Universe, showing Leon Trotski, Friedrich Engels, and Karl Marx

Information desk panel, ''American Progress, the Triumph of Man's Accomplishments Through Physical and Mental Labor'',<ref name="003.34.2.369-386">{{cite journal

Category:Fresco paintings in the United States

LAPD Red Squad raid on John Reed Club art show

title=The Atlántida of Capitalism. The murals of Sert in the decorative programme of New York’s Rockefeller Center

File:Mexico - Bellas Artes - Fresque Riviera « Man at the Crossroads ».JPG

File:Rockefeller Center entrance (4674369705).jpg


Man at the Crossroads

Prompt: Focus on Man at the Crossroads and explain the Cultural significance.

The Rockefeller–Rivera dispute has become an emblem of the relationship of politics, aesthetics, creative freedom and economic power. Some works dramatized the incident, and a few went so far as to lampoon it. The American poet Archibald MacLeish's 1933 collection Frescoes for Mr. Rockefeller's City was inspired by the incident. It included six poems about the mural in which both Nelson Rockefeller and Rivera were criticized.  The New Yorker published E. B. White's poem "I paint what I see: A ballad of artistic integrity", an imaginary debate between Nelson Rockefeller and Rivera, on May 20, 1933. The incident has also been dramatized in the American films Cradle Will Rock (1999) and Frida (2002), both set in the 1930s.Other works focused specifically on Nelson Rockefeller's and Diego Rivera's conduct during the dispute over Man at the Crossroads. In her 1983 biography Frida, Hayden Herrera mentions that Kahlo wrote, "one could fight against [the Rockefellers] without being stabbed in the back". This referred to Rockefeller and Rivera's continued relationship even after the controversy had passed. Cary Reich writes in The Life of Nelson A. Rockefeller that the controversy was an instance of Nelson's "princely tendency [...] to have surrogates handle his dirty work".

Now Museum, Now You Don't (The Simpsons)

Great Fortune: The Epic of Rockefeller Center

File:Palacio de Bellas Artes - Mural El Hombre in cruce de caminos Rivera 3.jpg

Category:Cultural depictions of Vladimir Lenin

alt=The central scene. A workman is depicted controlling machinery. Before him, a giant fist emerges holding an orb depicting the recombination of atoms and dividing cells in acts of chemical and biological generation.

hdl-access=free }}</ref><ref name="yale/1837891">{{cite web

Detail of ''Man, Controller of the Universe'', fresco at [[Palacio de Bellas Artes

United States Department of the Interior

alt=Part of "American Progress", the mural that replaced "Man at the Crossroads"

América Tropical: Oprimida y Destrozada por los Imperialismos

The controversial portrait of Lenin, as seen in the recreated painting.

title=RCA Building Murals (by Sert and Brangwyn) (New York, NY) : “American Progress” detail, workmen deal with colossal statues of creative muses - Yale University Library

alt=Detail of Man, Controller of the Universe, showing Leon Trotski, Friedrich Engels, and Karl Marx

Information desk panel, ''American Progress, the Triumph of Man's Accomplishments Through Physical and Mental Labor'',<ref name="003.34.2.369-386">{{cite journal

Category:Fresco paintings in the United States

LAPD Red Squad raid on John Reed Club art show

title=The Atlántida of Capitalism. The murals of Sert in the decorative programme of New York’s Rockefeller Center

File:Mexico - Bellas Artes - Fresque Riviera « Man at the Crossroads ».JPG

File:Rockefeller Center entrance (4674369705).jpg


Man at the Crossroads

Prompt: Explain the Cultural significance of this artwork, Man at the Crossroads.

The Rockefeller–Rivera dispute has become an emblem of the relationship of politics, aesthetics, creative freedom and economic power. Some works dramatized the incident, and a few went so far as to lampoon it. The American poet Archibald MacLeish's 1933 collection Frescoes for Mr. Rockefeller's City was inspired by the incident. It included six poems about the mural in which both Nelson Rockefeller and Rivera were criticized.  The New Yorker published E. B. White's poem "I paint what I see: A ballad of artistic integrity", an imaginary debate between Nelson Rockefeller and Rivera, on May 20, 1933. The incident has also been dramatized in the American films Cradle Will Rock (1999) and Frida (2002), both set in the 1930s.Other works focused specifically on Nelson Rockefeller's and Diego Rivera's conduct during the dispute over Man at the Crossroads. In her 1983 biography Frida, Hayden Herrera mentions that Kahlo wrote, "one could fight against [the Rockefellers] without being stabbed in the back". This referred to Rockefeller and Rivera's continued relationship even after the controversy had passed. Cary Reich writes in The Life of Nelson A. Rockefeller that the controversy was an instance of Nelson's "princely tendency [...] to have surrogates handle his dirty work".

Now Museum, Now You Don't (The Simpsons)

Great Fortune: The Epic of Rockefeller Center

File:Palacio de Bellas Artes - Mural El Hombre in cruce de caminos Rivera 3.jpg

Category:Cultural depictions of Vladimir Lenin

alt=The central scene. A workman is depicted controlling machinery. Before him, a giant fist emerges holding an orb depicting the recombination of atoms and dividing cells in acts of chemical and biological generation.

hdl-access=free }}</ref><ref name="yale/1837891">{{cite web

Detail of ''Man, Controller of the Universe'', fresco at [[Palacio de Bellas Artes

United States Department of the Interior

alt=Part of "American Progress", the mural that replaced "Man at the Crossroads"

América Tropical: Oprimida y Destrozada por los Imperialismos

The controversial portrait of Lenin, as seen in the recreated painting.

title=RCA Building Murals (by Sert and Brangwyn) (New York, NY) : “American Progress” detail, workmen deal with colossal statues of creative muses - Yale University Library

alt=Detail of Man, Controller of the Universe, showing Leon Trotski, Friedrich Engels, and Karl Marx

Information desk panel, ''American Progress, the Triumph of Man's Accomplishments Through Physical and Mental Labor'',<ref name="003.34.2.369-386">{{cite journal

Category:Fresco paintings in the United States

LAPD Red Squad raid on John Reed Club art show

title=The Atlántida of Capitalism. The murals of Sert in the decorative programme of New York’s Rockefeller Center

File:Mexico - Bellas Artes - Fresque Riviera « Man at the Crossroads ».JPG

File:Rockefeller Center entrance (4674369705).jpg


Man at the Crossroads

Prompt: How does Man at the Crossroads explain its Cultural significance?

The Rockefeller–Rivera dispute has become an emblem of the relationship of politics, aesthetics, creative freedom and economic power. Some works dramatized the incident, and a few went so far as to lampoon it. The American poet Archibald MacLeish's 1933 collection Frescoes for Mr. Rockefeller's City was inspired by the incident. It included six poems about the mural in which both Nelson Rockefeller and Rivera were criticized.  The New Yorker published E. B. White's poem "I paint what I see: A ballad of artistic integrity", an imaginary debate between Nelson Rockefeller and Rivera, on May 20, 1933. The incident has also been dramatized in the American films Cradle Will Rock (1999) and Frida (2002), both set in the 1930s.Other works focused specifically on Nelson Rockefeller's and Diego Rivera's conduct during the dispute over Man at the Crossroads. In her 1983 biography Frida, Hayden Herrera mentions that Kahlo wrote, "one could fight against [the Rockefellers] without being stabbed in the back". This referred to Rockefeller and Rivera's continued relationship even after the controversy had passed. Cary Reich writes in The Life of Nelson A. Rockefeller that the controversy was an instance of Nelson's "princely tendency [...] to have surrogates handle his dirty work".

Now Museum, Now You Don't (The Simpsons)

Great Fortune: The Epic of Rockefeller Center

File:Palacio de Bellas Artes - Mural El Hombre in cruce de caminos Rivera 3.jpg

Category:Cultural depictions of Vladimir Lenin

alt=The central scene. A workman is depicted controlling machinery. Before him, a giant fist emerges holding an orb depicting the recombination of atoms and dividing cells in acts of chemical and biological generation.

hdl-access=free }}</ref><ref name="yale/1837891">{{cite web

Detail of ''Man, Controller of the Universe'', fresco at [[Palacio de Bellas Artes

United States Department of the Interior

alt=Part of "American Progress", the mural that replaced "Man at the Crossroads"

América Tropical: Oprimida y Destrozada por los Imperialismos

The controversial portrait of Lenin, as seen in the recreated painting.

title=RCA Building Murals (by Sert and Brangwyn) (New York, NY) : “American Progress” detail, workmen deal with colossal statues of creative muses - Yale University Library

alt=Detail of Man, Controller of the Universe, showing Leon Trotski, Friedrich Engels, and Karl Marx

Information desk panel, ''American Progress, the Triumph of Man's Accomplishments Through Physical and Mental Labor'',<ref name="003.34.2.369-386">{{cite journal

Category:Fresco paintings in the United States

LAPD Red Squad raid on John Reed Club art show

title=The Atlántida of Capitalism. The murals of Sert in the decorative programme of New York’s Rockefeller Center

File:Mexico - Bellas Artes - Fresque Riviera « Man at the Crossroads ».JPG

File:Rockefeller Center entrance (4674369705).jpg


Man at the Crossroads

Prompt: In Man at the Crossroads, how is the Cultural significance discussed?

The Rockefeller–Rivera dispute has become an emblem of the relationship of politics, aesthetics, creative freedom and economic power. Some works dramatized the incident, and a few went so far as to lampoon it. The American poet Archibald MacLeish's 1933 collection Frescoes for Mr. Rockefeller's City was inspired by the incident. It included six poems about the mural in which both Nelson Rockefeller and Rivera were criticized.  The New Yorker published E. B. White's poem "I paint what I see: A ballad of artistic integrity", an imaginary debate between Nelson Rockefeller and Rivera, on May 20, 1933. The incident has also been dramatized in the American films Cradle Will Rock (1999) and Frida (2002), both set in the 1930s.Other works focused specifically on Nelson Rockefeller's and Diego Rivera's conduct during the dispute over Man at the Crossroads. In her 1983 biography Frida, Hayden Herrera mentions that Kahlo wrote, "one could fight against [the Rockefellers] without being stabbed in the back". This referred to Rockefeller and Rivera's continued relationship even after the controversy had passed. Cary Reich writes in The Life of Nelson A. Rockefeller that the controversy was an instance of Nelson's "princely tendency [...] to have surrogates handle his dirty work".

Now Museum, Now You Don't (The Simpsons)

Great Fortune: The Epic of Rockefeller Center

File:Palacio de Bellas Artes - Mural El Hombre in cruce de caminos Rivera 3.jpg

Category:Cultural depictions of Vladimir Lenin

alt=The central scene. A workman is depicted controlling machinery. Before him, a giant fist emerges holding an orb depicting the recombination of atoms and dividing cells in acts of chemical and biological generation.

hdl-access=free }}</ref><ref name="yale/1837891">{{cite web

Detail of ''Man, Controller of the Universe'', fresco at [[Palacio de Bellas Artes

United States Department of the Interior

alt=Part of "American Progress", the mural that replaced "Man at the Crossroads"

América Tropical: Oprimida y Destrozada por los Imperialismos

The controversial portrait of Lenin, as seen in the recreated painting.

title=RCA Building Murals (by Sert and Brangwyn) (New York, NY) : “American Progress” detail, workmen deal with colossal statues of creative muses - Yale University Library

alt=Detail of Man, Controller of the Universe, showing Leon Trotski, Friedrich Engels, and Karl Marx

Information desk panel, ''American Progress, the Triumph of Man's Accomplishments Through Physical and Mental Labor'',<ref name="003.34.2.369-386">{{cite journal

Category:Fresco paintings in the United States

LAPD Red Squad raid on John Reed Club art show

title=The Atlántida of Capitalism. The murals of Sert in the decorative programme of New York’s Rockefeller Center

File:Mexico - Bellas Artes - Fresque Riviera « Man at the Crossroads ».JPG

File:Rockefeller Center entrance (4674369705).jpg


Portrait of a Man in Red Chalk

Prompt: Focus on Portrait of a Man in Red Chalk and explain the abstract.

The portrait of a man in red chalk (c. 1510) in the Royal Library of Turin is widely, though not universally, accepted as a self-portrait of Leonardo da Vinci. It is thought that Leonardo da Vinci drew this self-portrait at about the age of 60. The portrait has been extensively reproduced and has become an iconic representation of Leonardo as a polymath or "Renaissance Man". Despite this, some historians and scholars disagree as to the true identity of the sitter.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Portrait of a Man in Red Chalk

Prompt: Explain the abstract of this artwork, Portrait of a Man in Red Chalk.

The portrait of a man in red chalk (c. 1510) in the Royal Library of Turin is widely, though not universally, accepted as a self-portrait of Leonardo da Vinci. It is thought that Leonardo da Vinci drew this self-portrait at about the age of 60. The portrait has been extensively reproduced and has become an iconic representation of Leonardo as a polymath or "Renaissance Man". Despite this, some historians and scholars disagree as to the true identity of the sitter.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Portrait of a Man in Red Chalk

Prompt: How does Portrait of a Man in Red Chalk explain its abstract?

The portrait of a man in red chalk (c. 1510) in the Royal Library of Turin is widely, though not universally, accepted as a self-portrait of Leonardo da Vinci. It is thought that Leonardo da Vinci drew this self-portrait at about the age of 60. The portrait has been extensively reproduced and has become an iconic representation of Leonardo as a polymath or "Renaissance Man". Despite this, some historians and scholars disagree as to the true identity of the sitter.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Portrait of a Man in Red Chalk

Prompt: In Portrait of a Man in Red Chalk, how is the abstract discussed?

The portrait of a man in red chalk (c. 1510) in the Royal Library of Turin is widely, though not universally, accepted as a self-portrait of Leonardo da Vinci. It is thought that Leonardo da Vinci drew this self-portrait at about the age of 60. The portrait has been extensively reproduced and has become an iconic representation of Leonardo as a polymath or "Renaissance Man". Despite this, some historians and scholars disagree as to the true identity of the sitter.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Portrait of a Man in Red Chalk

Prompt: Focus on Portrait of a Man in Red Chalk and explain the Description and provenance.

The portrait is drawn in red chalk on paper. It depicts the head of an elderly man in three-quarter view, his face turned towards the viewer. The subject is distinguished by his long hair and long waving beard which flow over the shoulders and chest. The length of the hair and beard is uncommon in Renaissance portraits and suggests, as now, a person of sagacity. The face has a somewhat aquiline nose and is marked by deep lines on the brow and pouches below the eyes. It appears as if the man has lost his upper front teeth, causing deepening of the grooves from the nostrils. The eyes of the figure do not engage the viewer but gaze ahead, veiled by the long eyebrows. The drawing has been drawn in fine unique lines, shadowed by hatching and executed with the left hand, as was Leonardo's habit. The paper has brownish "fox marks" caused by the accumulation of iron salts due to moisture.In 1839, Giovanni Volpato, an antiques dealer who may have purchased the drawing in England or France, sold it to Prince Charles Albert of Sardinia with other drawings of great artists such as Raphael and Michelangelo. It is housed in Turin, at the Royal Library, and is not generally viewable by the public due to its fragility and poor condition.Researchers have developed a nondestructive way to gauge the condition of the drawing by describing and quantifying the chromophores affecting the paper. Their technique, described in Applied Physics Letters (2014), will be used to assess the rate at which the image is deteriorating and should help with planning appropriate conservation strategies.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Portrait of a Man in Red Chalk

Prompt: Explain the Description and provenance of this artwork, Portrait of a Man in Red Chalk.

The portrait is drawn in red chalk on paper. It depicts the head of an elderly man in three-quarter view, his face turned towards the viewer. The subject is distinguished by his long hair and long waving beard which flow over the shoulders and chest. The length of the hair and beard is uncommon in Renaissance portraits and suggests, as now, a person of sagacity. The face has a somewhat aquiline nose and is marked by deep lines on the brow and pouches below the eyes. It appears as if the man has lost his upper front teeth, causing deepening of the grooves from the nostrils. The eyes of the figure do not engage the viewer but gaze ahead, veiled by the long eyebrows. The drawing has been drawn in fine unique lines, shadowed by hatching and executed with the left hand, as was Leonardo's habit. The paper has brownish "fox marks" caused by the accumulation of iron salts due to moisture.In 1839, Giovanni Volpato, an antiques dealer who may have purchased the drawing in England or France, sold it to Prince Charles Albert of Sardinia with other drawings of great artists such as Raphael and Michelangelo. It is housed in Turin, at the Royal Library, and is not generally viewable by the public due to its fragility and poor condition.Researchers have developed a nondestructive way to gauge the condition of the drawing by describing and quantifying the chromophores affecting the paper. Their technique, described in Applied Physics Letters (2014), will be used to assess the rate at which the image is deteriorating and should help with planning appropriate conservation strategies.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Portrait of a Man in Red Chalk

Prompt: How does Portrait of a Man in Red Chalk explain its Description and provenance?

The portrait is drawn in red chalk on paper. It depicts the head of an elderly man in three-quarter view, his face turned towards the viewer. The subject is distinguished by his long hair and long waving beard which flow over the shoulders and chest. The length of the hair and beard is uncommon in Renaissance portraits and suggests, as now, a person of sagacity. The face has a somewhat aquiline nose and is marked by deep lines on the brow and pouches below the eyes. It appears as if the man has lost his upper front teeth, causing deepening of the grooves from the nostrils. The eyes of the figure do not engage the viewer but gaze ahead, veiled by the long eyebrows. The drawing has been drawn in fine unique lines, shadowed by hatching and executed with the left hand, as was Leonardo's habit. The paper has brownish "fox marks" caused by the accumulation of iron salts due to moisture.In 1839, Giovanni Volpato, an antiques dealer who may have purchased the drawing in England or France, sold it to Prince Charles Albert of Sardinia with other drawings of great artists such as Raphael and Michelangelo. It is housed in Turin, at the Royal Library, and is not generally viewable by the public due to its fragility and poor condition.Researchers have developed a nondestructive way to gauge the condition of the drawing by describing and quantifying the chromophores affecting the paper. Their technique, described in Applied Physics Letters (2014), will be used to assess the rate at which the image is deteriorating and should help with planning appropriate conservation strategies.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Portrait of a Man in Red Chalk

Prompt: In Portrait of a Man in Red Chalk, how is the Description and provenance discussed?

The portrait is drawn in red chalk on paper. It depicts the head of an elderly man in three-quarter view, his face turned towards the viewer. The subject is distinguished by his long hair and long waving beard which flow over the shoulders and chest. The length of the hair and beard is uncommon in Renaissance portraits and suggests, as now, a person of sagacity. The face has a somewhat aquiline nose and is marked by deep lines on the brow and pouches below the eyes. It appears as if the man has lost his upper front teeth, causing deepening of the grooves from the nostrils. The eyes of the figure do not engage the viewer but gaze ahead, veiled by the long eyebrows. The drawing has been drawn in fine unique lines, shadowed by hatching and executed with the left hand, as was Leonardo's habit. The paper has brownish "fox marks" caused by the accumulation of iron salts due to moisture.In 1839, Giovanni Volpato, an antiques dealer who may have purchased the drawing in England or France, sold it to Prince Charles Albert of Sardinia with other drawings of great artists such as Raphael and Michelangelo. It is housed in Turin, at the Royal Library, and is not generally viewable by the public due to its fragility and poor condition.Researchers have developed a nondestructive way to gauge the condition of the drawing by describing and quantifying the chromophores affecting the paper. Their technique, described in Applied Physics Letters (2014), will be used to assess the rate at which the image is deteriorating and should help with planning appropriate conservation strategies.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Portrait of a Man in Red Chalk

Prompt: Focus on Portrait of a Man in Red Chalk and explain the History and attribution.

The drawing is estimated to have been drawn c. 1510, possibly as a self-portrait by Leonardo da Vinci. In 1839, it was acquired by King Carlo Alberto of Savoy. The assumption that the drawing is a self-portrait of Leonardo was made in the 19th century, based on the similarity of the sitter to the possible portrait of Leonardo as Plato in Raphael's The School of Athens and on the high quality of the drawing, consistent with others by Leonardo. It was also decreed to be a self-portrait based on its likeness to the frontispiece portrait of Leonardo in Vasari's second edition of The Lives of the Artists (1568). During World War II, the presumed self-portrait was temporarily moved from Turin to Rome to avoid being taken by the Nazis, becoming somewhat damaged in the process. In 2000, Frank Zöllner reflected that "This red chalk drawing has largely determined our idea of Leonardo's appearance for it was long taken to be his only authentic self-portrait."Since the mid-to-late 20th century, the identification of the drawing as a self-portrait has been questioned. The claim that it represents Leonardo has been criticized by a number of Leonardo scholars and experts, such as Robert Payne, Martin Kemp, Pietro Marani, Carlo Pedretti, Larry J. Feinberg, and Martin Clayton.A frequent criticism made in the late 20th century is that the drawing depicts a man of a greater age than Leonardo himself achieved, as he died at the age of 67 and allegedly made the drawing between the age of 58 and 60. It has been suggested that the sitter represents Leonardo's father Piero da Vinci or his uncle Francesco, based on the fact they both had a long life and lived until the age of 80.In the early 21st century, the presumed self-portrait of Leonardo was used to help identify the subject of a drawing by Giovanni Ambrogio Figino, believed to depict an elderly Leonardo with his right arm assuaged by cloth. This may correspond with accounts of Leonardo's right hand being paralytic late in life and the burial position of his presumed remains, which scientists hope to DNA test to determine if they are Leonardo's.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Portrait of a Man in Red Chalk

Prompt: Explain the History and attribution of this artwork, Portrait of a Man in Red Chalk.

The drawing is estimated to have been drawn c. 1510, possibly as a self-portrait by Leonardo da Vinci. In 1839, it was acquired by King Carlo Alberto of Savoy. The assumption that the drawing is a self-portrait of Leonardo was made in the 19th century, based on the similarity of the sitter to the possible portrait of Leonardo as Plato in Raphael's The School of Athens and on the high quality of the drawing, consistent with others by Leonardo. It was also decreed to be a self-portrait based on its likeness to the frontispiece portrait of Leonardo in Vasari's second edition of The Lives of the Artists (1568). During World War II, the presumed self-portrait was temporarily moved from Turin to Rome to avoid being taken by the Nazis, becoming somewhat damaged in the process. In 2000, Frank Zöllner reflected that "This red chalk drawing has largely determined our idea of Leonardo's appearance for it was long taken to be his only authentic self-portrait."Since the mid-to-late 20th century, the identification of the drawing as a self-portrait has been questioned. The claim that it represents Leonardo has been criticized by a number of Leonardo scholars and experts, such as Robert Payne, Martin Kemp, Pietro Marani, Carlo Pedretti, Larry J. Feinberg, and Martin Clayton.A frequent criticism made in the late 20th century is that the drawing depicts a man of a greater age than Leonardo himself achieved, as he died at the age of 67 and allegedly made the drawing between the age of 58 and 60. It has been suggested that the sitter represents Leonardo's father Piero da Vinci or his uncle Francesco, based on the fact they both had a long life and lived until the age of 80.In the early 21st century, the presumed self-portrait of Leonardo was used to help identify the subject of a drawing by Giovanni Ambrogio Figino, believed to depict an elderly Leonardo with his right arm assuaged by cloth. This may correspond with accounts of Leonardo's right hand being paralytic late in life and the burial position of his presumed remains, which scientists hope to DNA test to determine if they are Leonardo's.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Portrait of a Man in Red Chalk

Prompt: How does Portrait of a Man in Red Chalk explain its History and attribution?

The drawing is estimated to have been drawn c. 1510, possibly as a self-portrait by Leonardo da Vinci. In 1839, it was acquired by King Carlo Alberto of Savoy. The assumption that the drawing is a self-portrait of Leonardo was made in the 19th century, based on the similarity of the sitter to the possible portrait of Leonardo as Plato in Raphael's The School of Athens and on the high quality of the drawing, consistent with others by Leonardo. It was also decreed to be a self-portrait based on its likeness to the frontispiece portrait of Leonardo in Vasari's second edition of The Lives of the Artists (1568). During World War II, the presumed self-portrait was temporarily moved from Turin to Rome to avoid being taken by the Nazis, becoming somewhat damaged in the process. In 2000, Frank Zöllner reflected that "This red chalk drawing has largely determined our idea of Leonardo's appearance for it was long taken to be his only authentic self-portrait."Since the mid-to-late 20th century, the identification of the drawing as a self-portrait has been questioned. The claim that it represents Leonardo has been criticized by a number of Leonardo scholars and experts, such as Robert Payne, Martin Kemp, Pietro Marani, Carlo Pedretti, Larry J. Feinberg, and Martin Clayton.A frequent criticism made in the late 20th century is that the drawing depicts a man of a greater age than Leonardo himself achieved, as he died at the age of 67 and allegedly made the drawing between the age of 58 and 60. It has been suggested that the sitter represents Leonardo's father Piero da Vinci or his uncle Francesco, based on the fact they both had a long life and lived until the age of 80.In the early 21st century, the presumed self-portrait of Leonardo was used to help identify the subject of a drawing by Giovanni Ambrogio Figino, believed to depict an elderly Leonardo with his right arm assuaged by cloth. This may correspond with accounts of Leonardo's right hand being paralytic late in life and the burial position of his presumed remains, which scientists hope to DNA test to determine if they are Leonardo's.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Portrait of a Man in Red Chalk

Prompt: In Portrait of a Man in Red Chalk, how is the History and attribution discussed?

The drawing is estimated to have been drawn c. 1510, possibly as a self-portrait by Leonardo da Vinci. In 1839, it was acquired by King Carlo Alberto of Savoy. The assumption that the drawing is a self-portrait of Leonardo was made in the 19th century, based on the similarity of the sitter to the possible portrait of Leonardo as Plato in Raphael's The School of Athens and on the high quality of the drawing, consistent with others by Leonardo. It was also decreed to be a self-portrait based on its likeness to the frontispiece portrait of Leonardo in Vasari's second edition of The Lives of the Artists (1568). During World War II, the presumed self-portrait was temporarily moved from Turin to Rome to avoid being taken by the Nazis, becoming somewhat damaged in the process. In 2000, Frank Zöllner reflected that "This red chalk drawing has largely determined our idea of Leonardo's appearance for it was long taken to be his only authentic self-portrait."Since the mid-to-late 20th century, the identification of the drawing as a self-portrait has been questioned. The claim that it represents Leonardo has been criticized by a number of Leonardo scholars and experts, such as Robert Payne, Martin Kemp, Pietro Marani, Carlo Pedretti, Larry J. Feinberg, and Martin Clayton.A frequent criticism made in the late 20th century is that the drawing depicts a man of a greater age than Leonardo himself achieved, as he died at the age of 67 and allegedly made the drawing between the age of 58 and 60. It has been suggested that the sitter represents Leonardo's father Piero da Vinci or his uncle Francesco, based on the fact they both had a long life and lived until the age of 80.In the early 21st century, the presumed self-portrait of Leonardo was used to help identify the subject of a drawing by Giovanni Ambrogio Figino, believed to depict an elderly Leonardo with his right arm assuaged by cloth. This may correspond with accounts of Leonardo's right hand being paralytic late in life and the burial position of his presumed remains, which scientists hope to DNA test to determine if they are Leonardo's.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Portrait of a Man in Red Chalk

Prompt: Focus on Portrait of a Man in Red Chalk and explain the Other portraits.

Other portraits of Leonardo by himself and other hands exist, presenting a different image of Leonardo to the man as represented in the red chalk drawing. Another red chalk drawing, a profile portrait at Windsor, is attributed to his pupil Francesco Melzi. A sketch by an unknown assistant on the back of one of Leonardo's studies (c. 1517) has also been determined to be a portrait.A self-portrait from Leonardo's Codex on the Flight of Birds depicts the artist at age 53. Leonardo may have also included a self-portrait in Luca Pacioli's Divina proportione, which he illustrated. A 1471 painting of Gabriel bears an inscription indicating that it is a self-portrait of Leonardo; this would be the earliest depiction of the artist.Leonardo is thought to be portrayed as Plato in Raphael's The School of Athens (1511). He may have been the model for two works by his master Verrocchio: the bronze statue of David (c. 1476) in the Bargello, and the archangel Raphael in Tobias and the Angel (c. 1475).Donato Bramante's Heraclitus and Democritus (1477) is thought by some to portray Leonardo as Heraclitus. Some suspect that the lower-right attendant in Leonardo's Adoration of the Magi (1481) may be a self-portrait.A 1505 engraving by Marcantonio Raimondi may portray Leonardo playing a lira da braccio, but this has yet to be verified.There is no scholarly consensus on the attribution of the Lucan portrait to Leonardo, but it has at least on occasion been attributed to him. The engraving portrait by Raffaello Morghen and statue by Luigi Pampaloni were made after his lifetime. Romantic paintings by Jean-Auguste-Dominique Ingres, François-Guillaume Ménageot and other French artists, as well as Angelica Kauffman depict the legendary account of Leonardo's death in the hands of King Francis I of France.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Portrait of a Man in Red Chalk

Prompt: Explain the Other portraits of this artwork, Portrait of a Man in Red Chalk.

Other portraits of Leonardo by himself and other hands exist, presenting a different image of Leonardo to the man as represented in the red chalk drawing. Another red chalk drawing, a profile portrait at Windsor, is attributed to his pupil Francesco Melzi. A sketch by an unknown assistant on the back of one of Leonardo's studies (c. 1517) has also been determined to be a portrait.A self-portrait from Leonardo's Codex on the Flight of Birds depicts the artist at age 53. Leonardo may have also included a self-portrait in Luca Pacioli's Divina proportione, which he illustrated. A 1471 painting of Gabriel bears an inscription indicating that it is a self-portrait of Leonardo; this would be the earliest depiction of the artist.Leonardo is thought to be portrayed as Plato in Raphael's The School of Athens (1511). He may have been the model for two works by his master Verrocchio: the bronze statue of David (c. 1476) in the Bargello, and the archangel Raphael in Tobias and the Angel (c. 1475).Donato Bramante's Heraclitus and Democritus (1477) is thought by some to portray Leonardo as Heraclitus. Some suspect that the lower-right attendant in Leonardo's Adoration of the Magi (1481) may be a self-portrait.A 1505 engraving by Marcantonio Raimondi may portray Leonardo playing a lira da braccio, but this has yet to be verified.There is no scholarly consensus on the attribution of the Lucan portrait to Leonardo, but it has at least on occasion been attributed to him. The engraving portrait by Raffaello Morghen and statue by Luigi Pampaloni were made after his lifetime. Romantic paintings by Jean-Auguste-Dominique Ingres, François-Guillaume Ménageot and other French artists, as well as Angelica Kauffman depict the legendary account of Leonardo's death in the hands of King Francis I of France.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Portrait of a Man in Red Chalk

Prompt: How does Portrait of a Man in Red Chalk explain its Other portraits?

Other portraits of Leonardo by himself and other hands exist, presenting a different image of Leonardo to the man as represented in the red chalk drawing. Another red chalk drawing, a profile portrait at Windsor, is attributed to his pupil Francesco Melzi. A sketch by an unknown assistant on the back of one of Leonardo's studies (c. 1517) has also been determined to be a portrait.A self-portrait from Leonardo's Codex on the Flight of Birds depicts the artist at age 53. Leonardo may have also included a self-portrait in Luca Pacioli's Divina proportione, which he illustrated. A 1471 painting of Gabriel bears an inscription indicating that it is a self-portrait of Leonardo; this would be the earliest depiction of the artist.Leonardo is thought to be portrayed as Plato in Raphael's The School of Athens (1511). He may have been the model for two works by his master Verrocchio: the bronze statue of David (c. 1476) in the Bargello, and the archangel Raphael in Tobias and the Angel (c. 1475).Donato Bramante's Heraclitus and Democritus (1477) is thought by some to portray Leonardo as Heraclitus. Some suspect that the lower-right attendant in Leonardo's Adoration of the Magi (1481) may be a self-portrait.A 1505 engraving by Marcantonio Raimondi may portray Leonardo playing a lira da braccio, but this has yet to be verified.There is no scholarly consensus on the attribution of the Lucan portrait to Leonardo, but it has at least on occasion been attributed to him. The engraving portrait by Raffaello Morghen and statue by Luigi Pampaloni were made after his lifetime. Romantic paintings by Jean-Auguste-Dominique Ingres, François-Guillaume Ménageot and other French artists, as well as Angelica Kauffman depict the legendary account of Leonardo's death in the hands of King Francis I of France.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Portrait of a Man in Red Chalk

Prompt: In Portrait of a Man in Red Chalk, how is the Other portraits discussed?

Other portraits of Leonardo by himself and other hands exist, presenting a different image of Leonardo to the man as represented in the red chalk drawing. Another red chalk drawing, a profile portrait at Windsor, is attributed to his pupil Francesco Melzi. A sketch by an unknown assistant on the back of one of Leonardo's studies (c. 1517) has also been determined to be a portrait.A self-portrait from Leonardo's Codex on the Flight of Birds depicts the artist at age 53. Leonardo may have also included a self-portrait in Luca Pacioli's Divina proportione, which he illustrated. A 1471 painting of Gabriel bears an inscription indicating that it is a self-portrait of Leonardo; this would be the earliest depiction of the artist.Leonardo is thought to be portrayed as Plato in Raphael's The School of Athens (1511). He may have been the model for two works by his master Verrocchio: the bronze statue of David (c. 1476) in the Bargello, and the archangel Raphael in Tobias and the Angel (c. 1475).Donato Bramante's Heraclitus and Democritus (1477) is thought by some to portray Leonardo as Heraclitus. Some suspect that the lower-right attendant in Leonardo's Adoration of the Magi (1481) may be a self-portrait.A 1505 engraving by Marcantonio Raimondi may portray Leonardo playing a lira da braccio, but this has yet to be verified.There is no scholarly consensus on the attribution of the Lucan portrait to Leonardo, but it has at least on occasion been attributed to him. The engraving portrait by Raffaello Morghen and statue by Luigi Pampaloni were made after his lifetime. Romantic paintings by Jean-Auguste-Dominique Ingres, François-Guillaume Ménageot and other French artists, as well as Angelica Kauffman depict the legendary account of Leonardo's death in the hands of King Francis I of France.

:File:Donato Bramante - Heraclitus and Democritus - WGA3054.jpg

File:Francesco Melzi - Portrait of Leonardo - WGA14795.jpg

:File:Marcantonio Raimondi - Orpheus Charming the Animals - 1930.579 - Cleveland Museum of Art.tif

Red chalk drawing attributed to Leonardo's pupil [[Francesco Melzi

:File:Statue of Leonardo DaVinci in Uffizi Alley, Florence, Italy.jpg

Category:Works believed to be self-portraits

:File:Leonardo da Vinci LACMA 19.4.22.jpg

Lives of the Most Excellent Painters, Sculptors, and Architects


Worker and Kolkhoz Woman

Prompt: Focus on Worker and Kolkhoz Woman and explain the abstract.

Worker and Kolkhoz Woman (Russian: Рабочий и колхозница, romanized: Rabochiy i kolkhoznitsa) is a sculpture of two figures with a sickle and a hammer raised over their heads. The concept and compositional design belong to the architect Boris Iofan. It is 24.5 metres (78 feet) high, made from stainless steel by Vera Mukhina for the 1937 World's Fair in Paris, and subsequently moved to Moscow. The sculpture is an example of socialist realism in an Art Deco aesthetic. The worker holds aloft a hammer and the kolkhoz woman a sickle to form the hammer and sickle symbol.

Category:Exhibition of Achievements of National Economy

Category:Cultural heritage monuments of federal significance in Moscow

Worker and Kolkhoz Woman from the [[VDNKH

Category:Sculptures of women in the Soviet Union

Category:Sculptures of men in the Soviet Union

Category:Art Deco sculptures and memorials

Category:Monuments and memorials in Moscow

File:Russia-2000-stamp-Tatlin Tower and Worker and Kolkhoz Woman by Vera Mukhina.jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937)

Category:Exposition Internationale des Arts et Techniques dans la Vie Moderne

Category:Relocated buildings and structures

File:Moscow, Worker and Kolkhoz Woman from the Main Gate (10656844163).jpg

Category:Monuments and memorials built in the Soviet Union

''Worker and Kolkhoz Woman'' was among achievements of the 20th century in the arts to be commemorated in Russian stamps in 2000 (depicted with [[Tatlin's Tower

The Soviet pavilion opposite the [[Exposition Internationale des Arts et Techniques dans la Vie Moderne#German Pavilion


Worker and Kolkhoz Woman

Prompt: Explain the abstract of this artwork, Worker and Kolkhoz Woman.

Worker and Kolkhoz Woman (Russian: Рабочий и колхозница, romanized: Rabochiy i kolkhoznitsa) is a sculpture of two figures with a sickle and a hammer raised over their heads. The concept and compositional design belong to the architect Boris Iofan. It is 24.5 metres (78 feet) high, made from stainless steel by Vera Mukhina for the 1937 World's Fair in Paris, and subsequently moved to Moscow. The sculpture is an example of socialist realism in an Art Deco aesthetic. The worker holds aloft a hammer and the kolkhoz woman a sickle to form the hammer and sickle symbol.

Category:Exhibition of Achievements of National Economy

Category:Cultural heritage monuments of federal significance in Moscow

Worker and Kolkhoz Woman from the [[VDNKH

Category:Sculptures of women in the Soviet Union

Category:Sculptures of men in the Soviet Union

Category:Art Deco sculptures and memorials

Category:Monuments and memorials in Moscow

File:Russia-2000-stamp-Tatlin Tower and Worker and Kolkhoz Woman by Vera Mukhina.jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937)

Category:Exposition Internationale des Arts et Techniques dans la Vie Moderne

Category:Relocated buildings and structures

File:Moscow, Worker and Kolkhoz Woman from the Main Gate (10656844163).jpg

Category:Monuments and memorials built in the Soviet Union

''Worker and Kolkhoz Woman'' was among achievements of the 20th century in the arts to be commemorated in Russian stamps in 2000 (depicted with [[Tatlin's Tower

The Soviet pavilion opposite the [[Exposition Internationale des Arts et Techniques dans la Vie Moderne#German Pavilion


Worker and Kolkhoz Woman

Prompt: How does Worker and Kolkhoz Woman explain its abstract?

Worker and Kolkhoz Woman (Russian: Рабочий и колхозница, romanized: Rabochiy i kolkhoznitsa) is a sculpture of two figures with a sickle and a hammer raised over their heads. The concept and compositional design belong to the architect Boris Iofan. It is 24.5 metres (78 feet) high, made from stainless steel by Vera Mukhina for the 1937 World's Fair in Paris, and subsequently moved to Moscow. The sculpture is an example of socialist realism in an Art Deco aesthetic. The worker holds aloft a hammer and the kolkhoz woman a sickle to form the hammer and sickle symbol.

Category:Exhibition of Achievements of National Economy

Category:Cultural heritage monuments of federal significance in Moscow

Worker and Kolkhoz Woman from the [[VDNKH

Category:Sculptures of women in the Soviet Union

Category:Sculptures of men in the Soviet Union

Category:Art Deco sculptures and memorials

Category:Monuments and memorials in Moscow

File:Russia-2000-stamp-Tatlin Tower and Worker and Kolkhoz Woman by Vera Mukhina.jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937)

Category:Exposition Internationale des Arts et Techniques dans la Vie Moderne

Category:Relocated buildings and structures

File:Moscow, Worker and Kolkhoz Woman from the Main Gate (10656844163).jpg

Category:Monuments and memorials built in the Soviet Union

''Worker and Kolkhoz Woman'' was among achievements of the 20th century in the arts to be commemorated in Russian stamps in 2000 (depicted with [[Tatlin's Tower

The Soviet pavilion opposite the [[Exposition Internationale des Arts et Techniques dans la Vie Moderne#German Pavilion


Worker and Kolkhoz Woman

Prompt: In Worker and Kolkhoz Woman, how is the abstract discussed?

Worker and Kolkhoz Woman (Russian: Рабочий и колхозница, romanized: Rabochiy i kolkhoznitsa) is a sculpture of two figures with a sickle and a hammer raised over their heads. The concept and compositional design belong to the architect Boris Iofan. It is 24.5 metres (78 feet) high, made from stainless steel by Vera Mukhina for the 1937 World's Fair in Paris, and subsequently moved to Moscow. The sculpture is an example of socialist realism in an Art Deco aesthetic. The worker holds aloft a hammer and the kolkhoz woman a sickle to form the hammer and sickle symbol.

Category:Exhibition of Achievements of National Economy

Category:Cultural heritage monuments of federal significance in Moscow

Worker and Kolkhoz Woman from the [[VDNKH

Category:Sculptures of women in the Soviet Union

Category:Sculptures of men in the Soviet Union

Category:Art Deco sculptures and memorials

Category:Monuments and memorials in Moscow

File:Russia-2000-stamp-Tatlin Tower and Worker and Kolkhoz Woman by Vera Mukhina.jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937)

Category:Exposition Internationale des Arts et Techniques dans la Vie Moderne

Category:Relocated buildings and structures

File:Moscow, Worker and Kolkhoz Woman from the Main Gate (10656844163).jpg

Category:Monuments and memorials built in the Soviet Union

''Worker and Kolkhoz Woman'' was among achievements of the 20th century in the arts to be commemorated in Russian stamps in 2000 (depicted with [[Tatlin's Tower

The Soviet pavilion opposite the [[Exposition Internationale des Arts et Techniques dans la Vie Moderne#German Pavilion


Worker and Kolkhoz Woman

Prompt: Focus on Worker and Kolkhoz Woman and explain the History.

The sculpture was originally created to crown the Soviet pavilion of the 1937 World's Fair.  The organisers had placed the Soviet and German pavilions facing each other across the main pedestrian boulevard at the Trocadéro on the north bank of the Seine.Mukhina was inspired by her study of the classical Harmodius and Aristogeiton, the Winged Victory of Samothrace and La Marseillaise, François Rude's sculptural group for the Arc de Triomphe, to bring a monumental composition of socialist realist confidence to the heart of Paris. The symbolism of the two figures striding from West to East, as determined by the layout of the pavilion, was also not lost on the spectators.Mukhina said that her sculpture was intended "to continue the idea inherent in the building, and this sculpture was to be an inseparable part of the whole structure", but after the fair, the Rabochiy i Kolkhoznitsa was relocated to Moscow where it was placed just outside the All-Russia Exhibition Centre.In 1941, the sculpture earned Mukhina one of the initial batch of Stalin Prizes.The sculpture was removed for restoration in autumn of 2003 during the city's Expo 2010 bid.The plan was that the sculpture could be back at its place by 2005, but this did not happen after the city lost the bidding process to Shanghai and many financial problems contributed to a delayed re-installation.At the end of 2009 the monument returned to its place at VDNKh after 6 years of restorations. The revealing of the restored monument was held on the evening of December 4, 2009, accompanied by fireworks and a light show. The restored statue uses a new pavilion as pedestal, increasing its total height from 34.5 metres (the old pedestal was 10 metres tall) to 60 metres (the new pavilion is 34.5 metres tall plus the 24.5 metres of the statue itself).

Category:Exhibition of Achievements of National Economy

Category:Cultural heritage monuments of federal significance in Moscow

Worker and Kolkhoz Woman from the [[VDNKH

Category:Sculptures of women in the Soviet Union

Category:Sculptures of men in the Soviet Union

Category:Art Deco sculptures and memorials

Category:Monuments and memorials in Moscow

File:Russia-2000-stamp-Tatlin Tower and Worker and Kolkhoz Woman by Vera Mukhina.jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937)

Category:Exposition Internationale des Arts et Techniques dans la Vie Moderne

Category:Relocated buildings and structures

File:Moscow, Worker and Kolkhoz Woman from the Main Gate (10656844163).jpg

Category:Monuments and memorials built in the Soviet Union

''Worker and Kolkhoz Woman'' was among achievements of the 20th century in the arts to be commemorated in Russian stamps in 2000 (depicted with [[Tatlin's Tower

The Soviet pavilion opposite the [[Exposition Internationale des Arts et Techniques dans la Vie Moderne#German Pavilion


Worker and Kolkhoz Woman

Prompt: Explain the History of this artwork, Worker and Kolkhoz Woman.

The sculpture was originally created to crown the Soviet pavilion of the 1937 World's Fair.  The organisers had placed the Soviet and German pavilions facing each other across the main pedestrian boulevard at the Trocadéro on the north bank of the Seine.Mukhina was inspired by her study of the classical Harmodius and Aristogeiton, the Winged Victory of Samothrace and La Marseillaise, François Rude's sculptural group for the Arc de Triomphe, to bring a monumental composition of socialist realist confidence to the heart of Paris. The symbolism of the two figures striding from West to East, as determined by the layout of the pavilion, was also not lost on the spectators.Mukhina said that her sculpture was intended "to continue the idea inherent in the building, and this sculpture was to be an inseparable part of the whole structure", but after the fair, the Rabochiy i Kolkhoznitsa was relocated to Moscow where it was placed just outside the All-Russia Exhibition Centre.In 1941, the sculpture earned Mukhina one of the initial batch of Stalin Prizes.The sculpture was removed for restoration in autumn of 2003 during the city's Expo 2010 bid.The plan was that the sculpture could be back at its place by 2005, but this did not happen after the city lost the bidding process to Shanghai and many financial problems contributed to a delayed re-installation.At the end of 2009 the monument returned to its place at VDNKh after 6 years of restorations. The revealing of the restored monument was held on the evening of December 4, 2009, accompanied by fireworks and a light show. The restored statue uses a new pavilion as pedestal, increasing its total height from 34.5 metres (the old pedestal was 10 metres tall) to 60 metres (the new pavilion is 34.5 metres tall plus the 24.5 metres of the statue itself).

Category:Exhibition of Achievements of National Economy

Category:Cultural heritage monuments of federal significance in Moscow

Worker and Kolkhoz Woman from the [[VDNKH

Category:Sculptures of women in the Soviet Union

Category:Sculptures of men in the Soviet Union

Category:Art Deco sculptures and memorials

Category:Monuments and memorials in Moscow

File:Russia-2000-stamp-Tatlin Tower and Worker and Kolkhoz Woman by Vera Mukhina.jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937)

Category:Exposition Internationale des Arts et Techniques dans la Vie Moderne

Category:Relocated buildings and structures

File:Moscow, Worker and Kolkhoz Woman from the Main Gate (10656844163).jpg

Category:Monuments and memorials built in the Soviet Union

''Worker and Kolkhoz Woman'' was among achievements of the 20th century in the arts to be commemorated in Russian stamps in 2000 (depicted with [[Tatlin's Tower

The Soviet pavilion opposite the [[Exposition Internationale des Arts et Techniques dans la Vie Moderne#German Pavilion


Worker and Kolkhoz Woman

Prompt: How does Worker and Kolkhoz Woman explain its History?

The sculpture was originally created to crown the Soviet pavilion of the 1937 World's Fair.  The organisers had placed the Soviet and German pavilions facing each other across the main pedestrian boulevard at the Trocadéro on the north bank of the Seine.Mukhina was inspired by her study of the classical Harmodius and Aristogeiton, the Winged Victory of Samothrace and La Marseillaise, François Rude's sculptural group for the Arc de Triomphe, to bring a monumental composition of socialist realist confidence to the heart of Paris. The symbolism of the two figures striding from West to East, as determined by the layout of the pavilion, was also not lost on the spectators.Mukhina said that her sculpture was intended "to continue the idea inherent in the building, and this sculpture was to be an inseparable part of the whole structure", but after the fair, the Rabochiy i Kolkhoznitsa was relocated to Moscow where it was placed just outside the All-Russia Exhibition Centre.In 1941, the sculpture earned Mukhina one of the initial batch of Stalin Prizes.The sculpture was removed for restoration in autumn of 2003 during the city's Expo 2010 bid.The plan was that the sculpture could be back at its place by 2005, but this did not happen after the city lost the bidding process to Shanghai and many financial problems contributed to a delayed re-installation.At the end of 2009 the monument returned to its place at VDNKh after 6 years of restorations. The revealing of the restored monument was held on the evening of December 4, 2009, accompanied by fireworks and a light show. The restored statue uses a new pavilion as pedestal, increasing its total height from 34.5 metres (the old pedestal was 10 metres tall) to 60 metres (the new pavilion is 34.5 metres tall plus the 24.5 metres of the statue itself).

Category:Exhibition of Achievements of National Economy

Category:Cultural heritage monuments of federal significance in Moscow

Worker and Kolkhoz Woman from the [[VDNKH

Category:Sculptures of women in the Soviet Union

Category:Sculptures of men in the Soviet Union

Category:Art Deco sculptures and memorials

Category:Monuments and memorials in Moscow

File:Russia-2000-stamp-Tatlin Tower and Worker and Kolkhoz Woman by Vera Mukhina.jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937)

Category:Exposition Internationale des Arts et Techniques dans la Vie Moderne

Category:Relocated buildings and structures

File:Moscow, Worker and Kolkhoz Woman from the Main Gate (10656844163).jpg

Category:Monuments and memorials built in the Soviet Union

''Worker and Kolkhoz Woman'' was among achievements of the 20th century in the arts to be commemorated in Russian stamps in 2000 (depicted with [[Tatlin's Tower

The Soviet pavilion opposite the [[Exposition Internationale des Arts et Techniques dans la Vie Moderne#German Pavilion


Worker and Kolkhoz Woman

Prompt: In Worker and Kolkhoz Woman, how is the History discussed?

The sculpture was originally created to crown the Soviet pavilion of the 1937 World's Fair.  The organisers had placed the Soviet and German pavilions facing each other across the main pedestrian boulevard at the Trocadéro on the north bank of the Seine.Mukhina was inspired by her study of the classical Harmodius and Aristogeiton, the Winged Victory of Samothrace and La Marseillaise, François Rude's sculptural group for the Arc de Triomphe, to bring a monumental composition of socialist realist confidence to the heart of Paris. The symbolism of the two figures striding from West to East, as determined by the layout of the pavilion, was also not lost on the spectators.Mukhina said that her sculpture was intended "to continue the idea inherent in the building, and this sculpture was to be an inseparable part of the whole structure", but after the fair, the Rabochiy i Kolkhoznitsa was relocated to Moscow where it was placed just outside the All-Russia Exhibition Centre.In 1941, the sculpture earned Mukhina one of the initial batch of Stalin Prizes.The sculpture was removed for restoration in autumn of 2003 during the city's Expo 2010 bid.The plan was that the sculpture could be back at its place by 2005, but this did not happen after the city lost the bidding process to Shanghai and many financial problems contributed to a delayed re-installation.At the end of 2009 the monument returned to its place at VDNKh after 6 years of restorations. The revealing of the restored monument was held on the evening of December 4, 2009, accompanied by fireworks and a light show. The restored statue uses a new pavilion as pedestal, increasing its total height from 34.5 metres (the old pedestal was 10 metres tall) to 60 metres (the new pavilion is 34.5 metres tall plus the 24.5 metres of the statue itself).

Category:Exhibition of Achievements of National Economy

Category:Cultural heritage monuments of federal significance in Moscow

Worker and Kolkhoz Woman from the [[VDNKH

Category:Sculptures of women in the Soviet Union

Category:Sculptures of men in the Soviet Union

Category:Art Deco sculptures and memorials

Category:Monuments and memorials in Moscow

File:Russia-2000-stamp-Tatlin Tower and Worker and Kolkhoz Woman by Vera Mukhina.jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937)

Category:Exposition Internationale des Arts et Techniques dans la Vie Moderne

Category:Relocated buildings and structures

File:Moscow, Worker and Kolkhoz Woman from the Main Gate (10656844163).jpg

Category:Monuments and memorials built in the Soviet Union

''Worker and Kolkhoz Woman'' was among achievements of the 20th century in the arts to be commemorated in Russian stamps in 2000 (depicted with [[Tatlin's Tower

The Soviet pavilion opposite the [[Exposition Internationale des Arts et Techniques dans la Vie Moderne#German Pavilion


Worker and Kolkhoz Woman

Prompt: Focus on Worker and Kolkhoz Woman and explain the Manufacturing and installation.

The main structure of the monument was made at The Moscow factory of aggregate machine tools and automatic lines (called "Stankoagregat"), while the smaller components of the outer covering were created at the pilot plant of the Central Research Institute of Mechanical Engineering and Metalworking, overseen by Professor Pyotr Nikolayevich Lvov. He suggested using stainless chrome-nickel steel for the sculpture, despite initial doubts from Vera Mukhina and the rest of the team. The main reason steel was chosen over bronze and copper was because it had a better ability to reflect light. The goal was for the monument to shine brighter than the eagle on the German pavilion and the Eiffel Tower. Lvov invented resistance spot welding, a technique that was used to skin airplanes since the 1930s. Instead of using the traditional riveting method, the decision was made to use this technology for assembling the sculpture.At the start of the project, the workers had four plaster models to use, with the tallest one being 95 cm. They assembled the monument in the factory courtyard using a crane that was 35 meters high with a 15-meter boom. The templates for the plating parts were made of wood, and the carpenters used 15 cm thick boards. The molded parts were then shaped from inside the monument. People involved in the project remembered these details: "Working in February was particularly challenging due to the cold weather and strong winds. The only respite from the wind was inside the frame or "under the skirt of the Kolkhoznitsa". To keep warm, we relied on a fire that was built in a cauldron dug into the ground. Additionally, we had to manually weld the sheathing sheets".A different approach was needed to create the hands and heads of the sculpture. Instead of using wooden templates, clay was used to fill in the damaged wooden blanks for the heads, which were then molded with steel. The creation of the scarf posed challenges, as it was a large and heavy piece that needed to be supported without external help. During the creation of this artwork, factory director S. P. Tambovtsev criticized Mukhina for causing delays with numerous revisions and claimed that the scarf she had designed could potentially damage the sculpture during windy weather. Tambovtsev even stated that Lev Trotsky, who was considered an "enemy of the people", could be seen in certain angles of the frame. However, his complaints were ignored, and engineers B.A. Dzerzhkovich and A.A. Prikhozhan managed to create a truss to support the scarf, allowing it to appear as if it was floating behind two figures.During this time period, the sculpture was created and it was supported by a heavy frame weighing 63 tons. The outer shells of the sculpture, made from thin sheets of 0.5 mm steel, only weighed 12 tons. The entire process took three and a half months. Once the sculpture was assembled, it was visited by a government commission led by Kliment Voroshilov, the People's Commissar of Defense. Later that evening, Joseph Stalin, the leader of the USSR, inspected the finished monument. Shortly after, the sculpture was dismantled for transportation to Paris.

Category:Exhibition of Achievements of National Economy

Category:Cultural heritage monuments of federal significance in Moscow

Worker and Kolkhoz Woman from the [[VDNKH

Category:Sculptures of women in the Soviet Union

Category:Sculptures of men in the Soviet Union

Category:Art Deco sculptures and memorials

Category:Monuments and memorials in Moscow

File:Russia-2000-stamp-Tatlin Tower and Worker and Kolkhoz Woman by Vera Mukhina.jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937)

Category:Exposition Internationale des Arts et Techniques dans la Vie Moderne

Category:Relocated buildings and structures

File:Moscow, Worker and Kolkhoz Woman from the Main Gate (10656844163).jpg

Category:Monuments and memorials built in the Soviet Union

''Worker and Kolkhoz Woman'' was among achievements of the 20th century in the arts to be commemorated in Russian stamps in 2000 (depicted with [[Tatlin's Tower

The Soviet pavilion opposite the [[Exposition Internationale des Arts et Techniques dans la Vie Moderne#German Pavilion


Worker and Kolkhoz Woman

Prompt: Explain the Manufacturing and installation of this artwork, Worker and Kolkhoz Woman.

The main structure of the monument was made at The Moscow factory of aggregate machine tools and automatic lines (called "Stankoagregat"), while the smaller components of the outer covering were created at the pilot plant of the Central Research Institute of Mechanical Engineering and Metalworking, overseen by Professor Pyotr Nikolayevich Lvov. He suggested using stainless chrome-nickel steel for the sculpture, despite initial doubts from Vera Mukhina and the rest of the team. The main reason steel was chosen over bronze and copper was because it had a better ability to reflect light. The goal was for the monument to shine brighter than the eagle on the German pavilion and the Eiffel Tower. Lvov invented resistance spot welding, a technique that was used to skin airplanes since the 1930s. Instead of using the traditional riveting method, the decision was made to use this technology for assembling the sculpture.At the start of the project, the workers had four plaster models to use, with the tallest one being 95 cm. They assembled the monument in the factory courtyard using a crane that was 35 meters high with a 15-meter boom. The templates for the plating parts were made of wood, and the carpenters used 15 cm thick boards. The molded parts were then shaped from inside the monument. People involved in the project remembered these details: "Working in February was particularly challenging due to the cold weather and strong winds. The only respite from the wind was inside the frame or "under the skirt of the Kolkhoznitsa". To keep warm, we relied on a fire that was built in a cauldron dug into the ground. Additionally, we had to manually weld the sheathing sheets".A different approach was needed to create the hands and heads of the sculpture. Instead of using wooden templates, clay was used to fill in the damaged wooden blanks for the heads, which were then molded with steel. The creation of the scarf posed challenges, as it was a large and heavy piece that needed to be supported without external help. During the creation of this artwork, factory director S. P. Tambovtsev criticized Mukhina for causing delays with numerous revisions and claimed that the scarf she had designed could potentially damage the sculpture during windy weather. Tambovtsev even stated that Lev Trotsky, who was considered an "enemy of the people", could be seen in certain angles of the frame. However, his complaints were ignored, and engineers B.A. Dzerzhkovich and A.A. Prikhozhan managed to create a truss to support the scarf, allowing it to appear as if it was floating behind two figures.During this time period, the sculpture was created and it was supported by a heavy frame weighing 63 tons. The outer shells of the sculpture, made from thin sheets of 0.5 mm steel, only weighed 12 tons. The entire process took three and a half months. Once the sculpture was assembled, it was visited by a government commission led by Kliment Voroshilov, the People's Commissar of Defense. Later that evening, Joseph Stalin, the leader of the USSR, inspected the finished monument. Shortly after, the sculpture was dismantled for transportation to Paris.

Category:Exhibition of Achievements of National Economy

Category:Cultural heritage monuments of federal significance in Moscow

Worker and Kolkhoz Woman from the [[VDNKH

Category:Sculptures of women in the Soviet Union

Category:Sculptures of men in the Soviet Union

Category:Art Deco sculptures and memorials

Category:Monuments and memorials in Moscow

File:Russia-2000-stamp-Tatlin Tower and Worker and Kolkhoz Woman by Vera Mukhina.jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937)

Category:Exposition Internationale des Arts et Techniques dans la Vie Moderne

Category:Relocated buildings and structures

File:Moscow, Worker and Kolkhoz Woman from the Main Gate (10656844163).jpg

Category:Monuments and memorials built in the Soviet Union

''Worker and Kolkhoz Woman'' was among achievements of the 20th century in the arts to be commemorated in Russian stamps in 2000 (depicted with [[Tatlin's Tower

The Soviet pavilion opposite the [[Exposition Internationale des Arts et Techniques dans la Vie Moderne#German Pavilion