Paradise of Bhaisajyaguru

Prompt: How does Paradise of Bhaisajyaguru explain its abstract?

Paradise of Bhaisajyaguru (薬師佛) or Pure Land of Bhaisajyaguru is a painting created during China's Yuan dynasty. This painting was originally housed in Guangsheng Lower Monastery (Guangsheng Si), Zhaocheng County, Shanxi. The painting, which was at the eastern gable wall of the Main Hall of the monastery, was purchased by Arthur M. Sackler and later was given to Metropolitan Museum of Art, New York, United States in 1954.This painting features the Bhaisajyaguru Buddha and two Bodhisattvas, Avalokitesvara and Cintamanicakra in the centre. Traditionally Bhaisajyaguru Buddha (Yaoshi fo) is considered as the Buddha of medicine (both physically and spiritually) in Mahayana Buddhism.

File:Pure Land of Bhaisajyaguru, Yuan Dynasty.JPG

University of Pennsylvania Museum of Archaeology and Anthropology

Mural as displayed in the Metropolitan Museum of Art

Category:Paintings in the Metropolitan Museum of Art

Category:Paintings in the Nelson-Atkins Museum of Art


Paradise of Bhaisajyaguru

Prompt: In Paradise of Bhaisajyaguru, how is the abstract discussed?

Paradise of Bhaisajyaguru (薬師佛) or Pure Land of Bhaisajyaguru is a painting created during China's Yuan dynasty. This painting was originally housed in Guangsheng Lower Monastery (Guangsheng Si), Zhaocheng County, Shanxi. The painting, which was at the eastern gable wall of the Main Hall of the monastery, was purchased by Arthur M. Sackler and later was given to Metropolitan Museum of Art, New York, United States in 1954.This painting features the Bhaisajyaguru Buddha and two Bodhisattvas, Avalokitesvara and Cintamanicakra in the centre. Traditionally Bhaisajyaguru Buddha (Yaoshi fo) is considered as the Buddha of medicine (both physically and spiritually) in Mahayana Buddhism.

File:Pure Land of Bhaisajyaguru, Yuan Dynasty.JPG

University of Pennsylvania Museum of Archaeology and Anthropology

Mural as displayed in the Metropolitan Museum of Art

Category:Paintings in the Metropolitan Museum of Art

Category:Paintings in the Nelson-Atkins Museum of Art


Paradise of Bhaisajyaguru

Prompt: Focus on Paradise of Bhaisajyaguru and explain the Composition.

As it stands today, the wall painting measures 751.8 cm in height and 1511.3 cm in length. It is notable for its high level of detail. The painting features seated Bhaisajyaguru Buddha in an imagined heaven, surrounded by Bodhisattvas and gods. Usually, Bhaisajyaguru Buddha is depicted as an Indian figure. But in this Paradise of Bhaisajyaguru painting, all the figures are depicted with Chinese dresses and robes. Bhaisajyaguru Buddha is wearing a red robe. Buddha is flanked by two seated Bodhisattvas: Avalokitesvara and Cintamanicakra. Another four secondary Bodhisattva figures can be seen in the mural. The Twelve Heavenly Generals, six at each side in the painting symbolizes the Buddha's vow to help others. This painting was formerly confused as the Assembly of Śākyamuni Buddha.Saptatathāgatapūrvapranidhānavisēsa Sūtra, a Buddhist sutta translated by Yi Jing (635-713), mentions that there were six predecessor Buddhas before Bhaisajyaguru. Small six Buddha images can be seen in the upper part of the painting. The central figure of Bhaisajyaguru Buddha is holding a bowl in his left hand symbolizing medicine. Bhaisajyaguru is considered as a Buddha of salvation and preventer of disasters in Mahayana Buddhism. Other important figures in the painting are the Bodhisattvas, Candraprabha and Suryaprabha. Candraprabha is the Bodhisattva who is holding a moon disk near Buddha's right hand. Suryaprabha is holding a sun disk with a red bird in it near Buddha's left hand.

File:Pure Land of Bhaisajyaguru, Yuan Dynasty.JPG

University of Pennsylvania Museum of Archaeology and Anthropology

Mural as displayed in the Metropolitan Museum of Art

Category:Paintings in the Metropolitan Museum of Art

Category:Paintings in the Nelson-Atkins Museum of Art


Paradise of Bhaisajyaguru

Prompt: Explain the Composition of this artwork, Paradise of Bhaisajyaguru.

As it stands today, the wall painting measures 751.8 cm in height and 1511.3 cm in length. It is notable for its high level of detail. The painting features seated Bhaisajyaguru Buddha in an imagined heaven, surrounded by Bodhisattvas and gods. Usually, Bhaisajyaguru Buddha is depicted as an Indian figure. But in this Paradise of Bhaisajyaguru painting, all the figures are depicted with Chinese dresses and robes. Bhaisajyaguru Buddha is wearing a red robe. Buddha is flanked by two seated Bodhisattvas: Avalokitesvara and Cintamanicakra. Another four secondary Bodhisattva figures can be seen in the mural. The Twelve Heavenly Generals, six at each side in the painting symbolizes the Buddha's vow to help others. This painting was formerly confused as the Assembly of Śākyamuni Buddha.Saptatathāgatapūrvapranidhānavisēsa Sūtra, a Buddhist sutta translated by Yi Jing (635-713), mentions that there were six predecessor Buddhas before Bhaisajyaguru. Small six Buddha images can be seen in the upper part of the painting. The central figure of Bhaisajyaguru Buddha is holding a bowl in his left hand symbolizing medicine. Bhaisajyaguru is considered as a Buddha of salvation and preventer of disasters in Mahayana Buddhism. Other important figures in the painting are the Bodhisattvas, Candraprabha and Suryaprabha. Candraprabha is the Bodhisattva who is holding a moon disk near Buddha's right hand. Suryaprabha is holding a sun disk with a red bird in it near Buddha's left hand.

File:Pure Land of Bhaisajyaguru, Yuan Dynasty.JPG

University of Pennsylvania Museum of Archaeology and Anthropology

Mural as displayed in the Metropolitan Museum of Art

Category:Paintings in the Metropolitan Museum of Art

Category:Paintings in the Nelson-Atkins Museum of Art


Paradise of Bhaisajyaguru

Prompt: How does Paradise of Bhaisajyaguru explain its Composition?

As it stands today, the wall painting measures 751.8 cm in height and 1511.3 cm in length. It is notable for its high level of detail. The painting features seated Bhaisajyaguru Buddha in an imagined heaven, surrounded by Bodhisattvas and gods. Usually, Bhaisajyaguru Buddha is depicted as an Indian figure. But in this Paradise of Bhaisajyaguru painting, all the figures are depicted with Chinese dresses and robes. Bhaisajyaguru Buddha is wearing a red robe. Buddha is flanked by two seated Bodhisattvas: Avalokitesvara and Cintamanicakra. Another four secondary Bodhisattva figures can be seen in the mural. The Twelve Heavenly Generals, six at each side in the painting symbolizes the Buddha's vow to help others. This painting was formerly confused as the Assembly of Śākyamuni Buddha.Saptatathāgatapūrvapranidhānavisēsa Sūtra, a Buddhist sutta translated by Yi Jing (635-713), mentions that there were six predecessor Buddhas before Bhaisajyaguru. Small six Buddha images can be seen in the upper part of the painting. The central figure of Bhaisajyaguru Buddha is holding a bowl in his left hand symbolizing medicine. Bhaisajyaguru is considered as a Buddha of salvation and preventer of disasters in Mahayana Buddhism. Other important figures in the painting are the Bodhisattvas, Candraprabha and Suryaprabha. Candraprabha is the Bodhisattva who is holding a moon disk near Buddha's right hand. Suryaprabha is holding a sun disk with a red bird in it near Buddha's left hand.

File:Pure Land of Bhaisajyaguru, Yuan Dynasty.JPG

University of Pennsylvania Museum of Archaeology and Anthropology

Mural as displayed in the Metropolitan Museum of Art

Category:Paintings in the Metropolitan Museum of Art

Category:Paintings in the Nelson-Atkins Museum of Art


Paradise of Bhaisajyaguru

Prompt: In Paradise of Bhaisajyaguru, how is the Composition discussed?

As it stands today, the wall painting measures 751.8 cm in height and 1511.3 cm in length. It is notable for its high level of detail. The painting features seated Bhaisajyaguru Buddha in an imagined heaven, surrounded by Bodhisattvas and gods. Usually, Bhaisajyaguru Buddha is depicted as an Indian figure. But in this Paradise of Bhaisajyaguru painting, all the figures are depicted with Chinese dresses and robes. Bhaisajyaguru Buddha is wearing a red robe. Buddha is flanked by two seated Bodhisattvas: Avalokitesvara and Cintamanicakra. Another four secondary Bodhisattva figures can be seen in the mural. The Twelve Heavenly Generals, six at each side in the painting symbolizes the Buddha's vow to help others. This painting was formerly confused as the Assembly of Śākyamuni Buddha.Saptatathāgatapūrvapranidhānavisēsa Sūtra, a Buddhist sutta translated by Yi Jing (635-713), mentions that there were six predecessor Buddhas before Bhaisajyaguru. Small six Buddha images can be seen in the upper part of the painting. The central figure of Bhaisajyaguru Buddha is holding a bowl in his left hand symbolizing medicine. Bhaisajyaguru is considered as a Buddha of salvation and preventer of disasters in Mahayana Buddhism. Other important figures in the painting are the Bodhisattvas, Candraprabha and Suryaprabha. Candraprabha is the Bodhisattva who is holding a moon disk near Buddha's right hand. Suryaprabha is holding a sun disk with a red bird in it near Buddha's left hand.

File:Pure Land of Bhaisajyaguru, Yuan Dynasty.JPG

University of Pennsylvania Museum of Archaeology and Anthropology

Mural as displayed in the Metropolitan Museum of Art

Category:Paintings in the Metropolitan Museum of Art

Category:Paintings in the Nelson-Atkins Museum of Art


Paradise of Bhaisajyaguru

Prompt: Focus on Paradise of Bhaisajyaguru and explain the Creation.

The artist of this painting has not been identified. The robust and full-faced figures are characteristic of the paintings of Zhu Haogu (朱好古), who engaged in Buddhist and Daoist imagery in the fourteenth century. The painting, which was at the front hall of Guangsheng Lower Monastery, belongs to China's Yuan dynasty period. It may have been created circa 1319 AD. To prepare the monastery wall for this painting, it was covered with a foundation of clay mixed with straw. Then it was painted using a water-based pigment.

File:Pure Land of Bhaisajyaguru, Yuan Dynasty.JPG

University of Pennsylvania Museum of Archaeology and Anthropology

Mural as displayed in the Metropolitan Museum of Art

Category:Paintings in the Metropolitan Museum of Art

Category:Paintings in the Nelson-Atkins Museum of Art


Paradise of Bhaisajyaguru

Prompt: Explain the Creation of this artwork, Paradise of Bhaisajyaguru.

The artist of this painting has not been identified. The robust and full-faced figures are characteristic of the paintings of Zhu Haogu (朱好古), who engaged in Buddhist and Daoist imagery in the fourteenth century. The painting, which was at the front hall of Guangsheng Lower Monastery, belongs to China's Yuan dynasty period. It may have been created circa 1319 AD. To prepare the monastery wall for this painting, it was covered with a foundation of clay mixed with straw. Then it was painted using a water-based pigment.

File:Pure Land of Bhaisajyaguru, Yuan Dynasty.JPG

University of Pennsylvania Museum of Archaeology and Anthropology

Mural as displayed in the Metropolitan Museum of Art

Category:Paintings in the Metropolitan Museum of Art

Category:Paintings in the Nelson-Atkins Museum of Art


Paradise of Bhaisajyaguru

Prompt: How does Paradise of Bhaisajyaguru explain its Creation?

The artist of this painting has not been identified. The robust and full-faced figures are characteristic of the paintings of Zhu Haogu (朱好古), who engaged in Buddhist and Daoist imagery in the fourteenth century. The painting, which was at the front hall of Guangsheng Lower Monastery, belongs to China's Yuan dynasty period. It may have been created circa 1319 AD. To prepare the monastery wall for this painting, it was covered with a foundation of clay mixed with straw. Then it was painted using a water-based pigment.

File:Pure Land of Bhaisajyaguru, Yuan Dynasty.JPG

University of Pennsylvania Museum of Archaeology and Anthropology

Mural as displayed in the Metropolitan Museum of Art

Category:Paintings in the Metropolitan Museum of Art

Category:Paintings in the Nelson-Atkins Museum of Art


Paradise of Bhaisajyaguru

Prompt: In Paradise of Bhaisajyaguru, how is the Creation discussed?

The artist of this painting has not been identified. The robust and full-faced figures are characteristic of the paintings of Zhu Haogu (朱好古), who engaged in Buddhist and Daoist imagery in the fourteenth century. The painting, which was at the front hall of Guangsheng Lower Monastery, belongs to China's Yuan dynasty period. It may have been created circa 1319 AD. To prepare the monastery wall for this painting, it was covered with a foundation of clay mixed with straw. Then it was painted using a water-based pigment.

File:Pure Land of Bhaisajyaguru, Yuan Dynasty.JPG

University of Pennsylvania Museum of Archaeology and Anthropology

Mural as displayed in the Metropolitan Museum of Art

Category:Paintings in the Metropolitan Museum of Art

Category:Paintings in the Nelson-Atkins Museum of Art


Paradise of Bhaisajyaguru

Prompt: Focus on Paradise of Bhaisajyaguru and explain the Movement.

During the 1920s, monks had sold the murals which were on the gable walls of the front hall of Guangsheng Lower Monastery to find funds for the renovations of the temple. These murals were acquired by three museums in the United States. Between 1926 and 1929 two of the paintings were housed at the University Museum of Pennsylvania University and one painting was acquired by the Nelson-Atkins Art Gallery, Kansas in 1932. Another painting was purchased by Arthur M. Sackler and was given to Metropolitan Museum of Art in 1964. This version of the painting was later known as the Paradise of Bhaisajyaguru.

File:Pure Land of Bhaisajyaguru, Yuan Dynasty.JPG

University of Pennsylvania Museum of Archaeology and Anthropology

Mural as displayed in the Metropolitan Museum of Art

Category:Paintings in the Metropolitan Museum of Art

Category:Paintings in the Nelson-Atkins Museum of Art


Paradise of Bhaisajyaguru

Prompt: Explain the Movement of this artwork, Paradise of Bhaisajyaguru.

During the 1920s, monks had sold the murals which were on the gable walls of the front hall of Guangsheng Lower Monastery to find funds for the renovations of the temple. These murals were acquired by three museums in the United States. Between 1926 and 1929 two of the paintings were housed at the University Museum of Pennsylvania University and one painting was acquired by the Nelson-Atkins Art Gallery, Kansas in 1932. Another painting was purchased by Arthur M. Sackler and was given to Metropolitan Museum of Art in 1964. This version of the painting was later known as the Paradise of Bhaisajyaguru.

File:Pure Land of Bhaisajyaguru, Yuan Dynasty.JPG

University of Pennsylvania Museum of Archaeology and Anthropology

Mural as displayed in the Metropolitan Museum of Art

Category:Paintings in the Metropolitan Museum of Art

Category:Paintings in the Nelson-Atkins Museum of Art


Paradise of Bhaisajyaguru

Prompt: How does Paradise of Bhaisajyaguru explain its Movement?

During the 1920s, monks had sold the murals which were on the gable walls of the front hall of Guangsheng Lower Monastery to find funds for the renovations of the temple. These murals were acquired by three museums in the United States. Between 1926 and 1929 two of the paintings were housed at the University Museum of Pennsylvania University and one painting was acquired by the Nelson-Atkins Art Gallery, Kansas in 1932. Another painting was purchased by Arthur M. Sackler and was given to Metropolitan Museum of Art in 1964. This version of the painting was later known as the Paradise of Bhaisajyaguru.

File:Pure Land of Bhaisajyaguru, Yuan Dynasty.JPG

University of Pennsylvania Museum of Archaeology and Anthropology

Mural as displayed in the Metropolitan Museum of Art

Category:Paintings in the Metropolitan Museum of Art

Category:Paintings in the Nelson-Atkins Museum of Art


Paradise of Bhaisajyaguru

Prompt: In Paradise of Bhaisajyaguru, how is the Movement discussed?

During the 1920s, monks had sold the murals which were on the gable walls of the front hall of Guangsheng Lower Monastery to find funds for the renovations of the temple. These murals were acquired by three museums in the United States. Between 1926 and 1929 two of the paintings were housed at the University Museum of Pennsylvania University and one painting was acquired by the Nelson-Atkins Art Gallery, Kansas in 1932. Another painting was purchased by Arthur M. Sackler and was given to Metropolitan Museum of Art in 1964. This version of the painting was later known as the Paradise of Bhaisajyaguru.

File:Pure Land of Bhaisajyaguru, Yuan Dynasty.JPG

University of Pennsylvania Museum of Archaeology and Anthropology

Mural as displayed in the Metropolitan Museum of Art

Category:Paintings in the Metropolitan Museum of Art

Category:Paintings in the Nelson-Atkins Museum of Art


Portrait of a Young Woman (Pollaiuolo)

Prompt: Focus on Portrait of a Young Woman (Pollaiuolo) and explain the abstract.

Portrait of a Young Woman is a mixed-technique painting on panel of c. 1470–1472, variously attributed to Piero del Pollaiuolo or his brother Antonio. It is now in Milan in the Museo Poldi Pezzoli, which uses the painting as its symbol.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings in the Museo Poldi Pezzoli

Category:Paintings by Piero del Pollaiuolo

Themes in Italian Renaissance painting#Portraits


Portrait of a Young Woman (Pollaiuolo)

Prompt: Explain the abstract of this artwork, Portrait of a Young Woman (Pollaiuolo).

Portrait of a Young Woman is a mixed-technique painting on panel of c. 1470–1472, variously attributed to Piero del Pollaiuolo or his brother Antonio. It is now in Milan in the Museo Poldi Pezzoli, which uses the painting as its symbol.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings in the Museo Poldi Pezzoli

Category:Paintings by Piero del Pollaiuolo

Themes in Italian Renaissance painting#Portraits


Portrait of a Young Woman (Pollaiuolo)

Prompt: How does Portrait of a Young Woman (Pollaiuolo) explain its abstract?

Portrait of a Young Woman is a mixed-technique painting on panel of c. 1470–1472, variously attributed to Piero del Pollaiuolo or his brother Antonio. It is now in Milan in the Museo Poldi Pezzoli, which uses the painting as its symbol.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings in the Museo Poldi Pezzoli

Category:Paintings by Piero del Pollaiuolo

Themes in Italian Renaissance painting#Portraits


Portrait of a Young Woman (Pollaiuolo)

Prompt: In Portrait of a Young Woman (Pollaiuolo), how is the abstract discussed?

Portrait of a Young Woman is a mixed-technique painting on panel of c. 1470–1472, variously attributed to Piero del Pollaiuolo or his brother Antonio. It is now in Milan in the Museo Poldi Pezzoli, which uses the painting as its symbol.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings in the Museo Poldi Pezzoli

Category:Paintings by Piero del Pollaiuolo

Themes in Italian Renaissance painting#Portraits


Portrait of a Young Woman (Pollaiuolo)

Prompt: Focus on Portrait of a Young Woman (Pollaiuolo) and explain the History.

The work is one of the most celebrated and best preserved Renaissance portraits of a woman in profile of those attributed to one of the two Pollaiuolo brothers. It is often compared to Portrait of a Woman at the Uffizi, as well as to similar portraits held in the Staatliche Museen, the Metropolitan Museum of Art, and the Isabella Stewart Gardner Museum. Similar facial features can also be seen in Portrait of a Girl by Andrea della Robbia. These works have traditionally been attributed to Piero del Pollaiuolo, but recent critics, such as Aldo Galli, have proposed attributions to Antonio.The identity of the subject of the portrait in Milan is unclear. Various names have been proposed, including the wife of the banker Giovanni de' Bardi (based on the probably false inscription on the work's verso "UXOR JOHANNIS DE BARDI"), Marietta Strozzi, or a woman of the Belgioioso family. In the 19th century, the painting was reported by Giovanni Battista Cavalcaselle as being in the Borromeo family collections. It is not known when Gian Giacomo Poldi Pezzoli inherited the work from his mother's family, the Trivulzio. It was, however, transferred to the newly founded Museo Poldi Pezzoli in 1879. The painting was restored to good condition in 1951 by M. Pellicioli. A synthetic transposition of the portrait, created by Italo Lupi, symbolizes the two Ps in the logo of the museum today.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings in the Museo Poldi Pezzoli

Category:Paintings by Piero del Pollaiuolo

Themes in Italian Renaissance painting#Portraits


Portrait of a Young Woman (Pollaiuolo)

Prompt: Explain the History of this artwork, Portrait of a Young Woman (Pollaiuolo).

The work is one of the most celebrated and best preserved Renaissance portraits of a woman in profile of those attributed to one of the two Pollaiuolo brothers. It is often compared to Portrait of a Woman at the Uffizi, as well as to similar portraits held in the Staatliche Museen, the Metropolitan Museum of Art, and the Isabella Stewart Gardner Museum. Similar facial features can also be seen in Portrait of a Girl by Andrea della Robbia. These works have traditionally been attributed to Piero del Pollaiuolo, but recent critics, such as Aldo Galli, have proposed attributions to Antonio.The identity of the subject of the portrait in Milan is unclear. Various names have been proposed, including the wife of the banker Giovanni de' Bardi (based on the probably false inscription on the work's verso "UXOR JOHANNIS DE BARDI"), Marietta Strozzi, or a woman of the Belgioioso family. In the 19th century, the painting was reported by Giovanni Battista Cavalcaselle as being in the Borromeo family collections. It is not known when Gian Giacomo Poldi Pezzoli inherited the work from his mother's family, the Trivulzio. It was, however, transferred to the newly founded Museo Poldi Pezzoli in 1879. The painting was restored to good condition in 1951 by M. Pellicioli. A synthetic transposition of the portrait, created by Italo Lupi, symbolizes the two Ps in the logo of the museum today.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings in the Museo Poldi Pezzoli

Category:Paintings by Piero del Pollaiuolo

Themes in Italian Renaissance painting#Portraits


Portrait of a Young Woman (Pollaiuolo)

Prompt: How does Portrait of a Young Woman (Pollaiuolo) explain its History?

The work is one of the most celebrated and best preserved Renaissance portraits of a woman in profile of those attributed to one of the two Pollaiuolo brothers. It is often compared to Portrait of a Woman at the Uffizi, as well as to similar portraits held in the Staatliche Museen, the Metropolitan Museum of Art, and the Isabella Stewart Gardner Museum. Similar facial features can also be seen in Portrait of a Girl by Andrea della Robbia. These works have traditionally been attributed to Piero del Pollaiuolo, but recent critics, such as Aldo Galli, have proposed attributions to Antonio.The identity of the subject of the portrait in Milan is unclear. Various names have been proposed, including the wife of the banker Giovanni de' Bardi (based on the probably false inscription on the work's verso "UXOR JOHANNIS DE BARDI"), Marietta Strozzi, or a woman of the Belgioioso family. In the 19th century, the painting was reported by Giovanni Battista Cavalcaselle as being in the Borromeo family collections. It is not known when Gian Giacomo Poldi Pezzoli inherited the work from his mother's family, the Trivulzio. It was, however, transferred to the newly founded Museo Poldi Pezzoli in 1879. The painting was restored to good condition in 1951 by M. Pellicioli. A synthetic transposition of the portrait, created by Italo Lupi, symbolizes the two Ps in the logo of the museum today.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings in the Museo Poldi Pezzoli

Category:Paintings by Piero del Pollaiuolo

Themes in Italian Renaissance painting#Portraits


Portrait of a Young Woman (Pollaiuolo)

Prompt: In Portrait of a Young Woman (Pollaiuolo), how is the History discussed?

The work is one of the most celebrated and best preserved Renaissance portraits of a woman in profile of those attributed to one of the two Pollaiuolo brothers. It is often compared to Portrait of a Woman at the Uffizi, as well as to similar portraits held in the Staatliche Museen, the Metropolitan Museum of Art, and the Isabella Stewart Gardner Museum. Similar facial features can also be seen in Portrait of a Girl by Andrea della Robbia. These works have traditionally been attributed to Piero del Pollaiuolo, but recent critics, such as Aldo Galli, have proposed attributions to Antonio.The identity of the subject of the portrait in Milan is unclear. Various names have been proposed, including the wife of the banker Giovanni de' Bardi (based on the probably false inscription on the work's verso "UXOR JOHANNIS DE BARDI"), Marietta Strozzi, or a woman of the Belgioioso family. In the 19th century, the painting was reported by Giovanni Battista Cavalcaselle as being in the Borromeo family collections. It is not known when Gian Giacomo Poldi Pezzoli inherited the work from his mother's family, the Trivulzio. It was, however, transferred to the newly founded Museo Poldi Pezzoli in 1879. The painting was restored to good condition in 1951 by M. Pellicioli. A synthetic transposition of the portrait, created by Italo Lupi, symbolizes the two Ps in the logo of the museum today.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings in the Museo Poldi Pezzoli

Category:Paintings by Piero del Pollaiuolo

Themes in Italian Renaissance painting#Portraits


Portrait of a Young Woman (Pollaiuolo)

Prompt: Focus on Portrait of a Young Woman (Pollaiuolo) and explain the Description and style.

The woman is depicted on a background of blue sky, furrowed by clouds. She stands in profile, in the typical genre of Italian court portraits, which combined humanistic ideals with the style of Imperial Roman medals. The airy atmosphere indicates a harmony between nature and feminine beauty, after the classical ideals of the Renaissance. The depiction ends at the woman's shoulders, with a light twist of the torso that makes her neckline visible. The profile is forcefully separated from the background, with a clear, expressive line (called the "primacy" of the design) that is a typical characteristic of Florentine art in the second half of the 15th century, and in particular the Pollaiuolo brothers. Overall, the portrait is a symbol of Florentine elegance in the 15th century.Great attention has been given to her clothes, jewels, and elaborate hairstyle, which underlines the noble character and stature of the woman. Her corset is low-cut and fitted, connected on the front with a close series of buttons in a style popular among youth at the time. The velvet sleeve presents a concise floral motif, without using the convex effects of Flemish paintings. At that time, the sleeves of a garment were one of its most important parts. They were often interchangeable and decorated with jewels, so much that they were often inventoried as family heirlooms. The painting's attention to the values of light, however, approaches Flemish painting, which defines the materials represented with various light effects. The brilliance of pearls, the translucence of the hair, and the delicacy of the sitter's complexion add to the virtuosic effects.The subject's hair is shown in the so-called "vespaio" hairstyle, with a pattern of pearls. At the center of the pattern is a diadem of precious stones, which hold her hair in an elaborate cross that turns behind her neck and also holds the transparent veil that delicately covers her ears. The jewels she wears (pearls and a ruby) have bridal connotations, suggesting that the portrait might have been made as a dowry gift or a gift to the family of the groom as a sign of a marriage agreement. The pearls, in fact, allude to virginal purity and the ruby to the red of love.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings in the Museo Poldi Pezzoli

Category:Paintings by Piero del Pollaiuolo

Themes in Italian Renaissance painting#Portraits


Portrait of a Young Woman (Pollaiuolo)

Prompt: Explain the Description and style of this artwork, Portrait of a Young Woman (Pollaiuolo).

The woman is depicted on a background of blue sky, furrowed by clouds. She stands in profile, in the typical genre of Italian court portraits, which combined humanistic ideals with the style of Imperial Roman medals. The airy atmosphere indicates a harmony between nature and feminine beauty, after the classical ideals of the Renaissance. The depiction ends at the woman's shoulders, with a light twist of the torso that makes her neckline visible. The profile is forcefully separated from the background, with a clear, expressive line (called the "primacy" of the design) that is a typical characteristic of Florentine art in the second half of the 15th century, and in particular the Pollaiuolo brothers. Overall, the portrait is a symbol of Florentine elegance in the 15th century.Great attention has been given to her clothes, jewels, and elaborate hairstyle, which underlines the noble character and stature of the woman. Her corset is low-cut and fitted, connected on the front with a close series of buttons in a style popular among youth at the time. The velvet sleeve presents a concise floral motif, without using the convex effects of Flemish paintings. At that time, the sleeves of a garment were one of its most important parts. They were often interchangeable and decorated with jewels, so much that they were often inventoried as family heirlooms. The painting's attention to the values of light, however, approaches Flemish painting, which defines the materials represented with various light effects. The brilliance of pearls, the translucence of the hair, and the delicacy of the sitter's complexion add to the virtuosic effects.The subject's hair is shown in the so-called "vespaio" hairstyle, with a pattern of pearls. At the center of the pattern is a diadem of precious stones, which hold her hair in an elaborate cross that turns behind her neck and also holds the transparent veil that delicately covers her ears. The jewels she wears (pearls and a ruby) have bridal connotations, suggesting that the portrait might have been made as a dowry gift or a gift to the family of the groom as a sign of a marriage agreement. The pearls, in fact, allude to virginal purity and the ruby to the red of love.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings in the Museo Poldi Pezzoli

Category:Paintings by Piero del Pollaiuolo

Themes in Italian Renaissance painting#Portraits


Portrait of a Young Woman (Pollaiuolo)

Prompt: How does Portrait of a Young Woman (Pollaiuolo) explain its Description and style?

The woman is depicted on a background of blue sky, furrowed by clouds. She stands in profile, in the typical genre of Italian court portraits, which combined humanistic ideals with the style of Imperial Roman medals. The airy atmosphere indicates a harmony between nature and feminine beauty, after the classical ideals of the Renaissance. The depiction ends at the woman's shoulders, with a light twist of the torso that makes her neckline visible. The profile is forcefully separated from the background, with a clear, expressive line (called the "primacy" of the design) that is a typical characteristic of Florentine art in the second half of the 15th century, and in particular the Pollaiuolo brothers. Overall, the portrait is a symbol of Florentine elegance in the 15th century.Great attention has been given to her clothes, jewels, and elaborate hairstyle, which underlines the noble character and stature of the woman. Her corset is low-cut and fitted, connected on the front with a close series of buttons in a style popular among youth at the time. The velvet sleeve presents a concise floral motif, without using the convex effects of Flemish paintings. At that time, the sleeves of a garment were one of its most important parts. They were often interchangeable and decorated with jewels, so much that they were often inventoried as family heirlooms. The painting's attention to the values of light, however, approaches Flemish painting, which defines the materials represented with various light effects. The brilliance of pearls, the translucence of the hair, and the delicacy of the sitter's complexion add to the virtuosic effects.The subject's hair is shown in the so-called "vespaio" hairstyle, with a pattern of pearls. At the center of the pattern is a diadem of precious stones, which hold her hair in an elaborate cross that turns behind her neck and also holds the transparent veil that delicately covers her ears. The jewels she wears (pearls and a ruby) have bridal connotations, suggesting that the portrait might have been made as a dowry gift or a gift to the family of the groom as a sign of a marriage agreement. The pearls, in fact, allude to virginal purity and the ruby to the red of love.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings in the Museo Poldi Pezzoli

Category:Paintings by Piero del Pollaiuolo

Themes in Italian Renaissance painting#Portraits


Portrait of a Young Woman (Pollaiuolo)

Prompt: In Portrait of a Young Woman (Pollaiuolo), how is the Description and style discussed?

The woman is depicted on a background of blue sky, furrowed by clouds. She stands in profile, in the typical genre of Italian court portraits, which combined humanistic ideals with the style of Imperial Roman medals. The airy atmosphere indicates a harmony between nature and feminine beauty, after the classical ideals of the Renaissance. The depiction ends at the woman's shoulders, with a light twist of the torso that makes her neckline visible. The profile is forcefully separated from the background, with a clear, expressive line (called the "primacy" of the design) that is a typical characteristic of Florentine art in the second half of the 15th century, and in particular the Pollaiuolo brothers. Overall, the portrait is a symbol of Florentine elegance in the 15th century.Great attention has been given to her clothes, jewels, and elaborate hairstyle, which underlines the noble character and stature of the woman. Her corset is low-cut and fitted, connected on the front with a close series of buttons in a style popular among youth at the time. The velvet sleeve presents a concise floral motif, without using the convex effects of Flemish paintings. At that time, the sleeves of a garment were one of its most important parts. They were often interchangeable and decorated with jewels, so much that they were often inventoried as family heirlooms. The painting's attention to the values of light, however, approaches Flemish painting, which defines the materials represented with various light effects. The brilliance of pearls, the translucence of the hair, and the delicacy of the sitter's complexion add to the virtuosic effects.The subject's hair is shown in the so-called "vespaio" hairstyle, with a pattern of pearls. At the center of the pattern is a diadem of precious stones, which hold her hair in an elaborate cross that turns behind her neck and also holds the transparent veil that delicately covers her ears. The jewels she wears (pearls and a ruby) have bridal connotations, suggesting that the portrait might have been made as a dowry gift or a gift to the family of the groom as a sign of a marriage agreement. The pearls, in fact, allude to virginal purity and the ruby to the red of love.

Category:Paintings by Antonio del Pollaiuolo

Category:Paintings in the Museo Poldi Pezzoli

Category:Paintings by Piero del Pollaiuolo

Themes in Italian Renaissance painting#Portraits


Love & Loss

Prompt: Focus on Love & Loss and explain the abstract.

Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.

Category:2005 establishments in Washington (state)


Love & Loss

Prompt: Explain the abstract of this artwork, Love & Loss.

Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.

Category:2005 establishments in Washington (state)


Love & Loss

Prompt: How does Love & Loss explain its abstract?

Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.

Category:2005 establishments in Washington (state)


Love & Loss

Prompt: In Love & Loss, how is the abstract discussed?

Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.

Category:2005 establishments in Washington (state)


Love & Loss

Prompt: Focus on Love & Loss and explain the Description.

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".

Category:2005 establishments in Washington (state)


Love & Loss

Prompt: Explain the Description of this artwork, Love & Loss.

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".

Category:2005 establishments in Washington (state)


Love & Loss

Prompt: How does Love & Loss explain its Description?

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".

Category:2005 establishments in Washington (state)


Love & Loss

Prompt: In Love & Loss, how is the Description discussed?

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".

Category:2005 establishments in Washington (state)


Love & Loss

Prompt: Focus on Love & Loss and explain the Reception.

Category:2005 establishments in Washington (state)


Love & Loss

Prompt: Explain the Reception of this artwork, Love & Loss.

Category:2005 establishments in Washington (state)


Love & Loss

Prompt: How does Love & Loss explain its Reception?

Category:2005 establishments in Washington (state)


Love & Loss

Prompt: In Love & Loss, how is the Reception discussed?

Category:2005 establishments in Washington (state)


Torentje van Drienerlo

Prompt: Focus on Torentje van Drienerlo and explain the abstract.

The Torentje van Drienerlo (pronounced [ˈtoːrə(ɲ)tɕə vɑn ˈdrinərloː]; Dutch for "Drienerlo Steeple") is a 1979 artwork by Dutch artist Wim T. Schippers, located on the campus of the University of Twente in Enschede.

List of outdoor sculptures in the Netherlands

Category:Buildings and structures in Enschede

Category:Outdoor sculptures in the Netherlands


Torentje van Drienerlo

Prompt: Explain the abstract of this artwork, Torentje van Drienerlo.

The Torentje van Drienerlo (pronounced [ˈtoːrə(ɲ)tɕə vɑn ˈdrinərloː]; Dutch for "Drienerlo Steeple") is a 1979 artwork by Dutch artist Wim T. Schippers, located on the campus of the University of Twente in Enschede.

List of outdoor sculptures in the Netherlands

Category:Buildings and structures in Enschede

Category:Outdoor sculptures in the Netherlands


Torentje van Drienerlo

Prompt: How does Torentje van Drienerlo explain its abstract?

The Torentje van Drienerlo (pronounced [ˈtoːrə(ɲ)tɕə vɑn ˈdrinərloː]; Dutch for "Drienerlo Steeple") is a 1979 artwork by Dutch artist Wim T. Schippers, located on the campus of the University of Twente in Enschede.

List of outdoor sculptures in the Netherlands

Category:Buildings and structures in Enschede

Category:Outdoor sculptures in the Netherlands


Torentje van Drienerlo

Prompt: In Torentje van Drienerlo, how is the abstract discussed?

The Torentje van Drienerlo (pronounced [ˈtoːrə(ɲ)tɕə vɑn ˈdrinərloː]; Dutch for "Drienerlo Steeple") is a 1979 artwork by Dutch artist Wim T. Schippers, located on the campus of the University of Twente in Enschede.

List of outdoor sculptures in the Netherlands

Category:Buildings and structures in Enschede

Category:Outdoor sculptures in the Netherlands


Torentje van Drienerlo

Prompt: Focus on Torentje van Drienerlo and explain the Description.

Schippers made the tower long after he had left a career in visual arts for television. In the 1960s, he was associated with the Fluxus movement and had gained a reputation for absurdist and controversial works of art, including the famous Pindakaasvloer (1962–1967), consisting basically of a floor covered with peanut butter. He worked on short films as well, with Wim van der Linden and others, but his relations with the established art world were troubled and by the early 1970s he was working almost exclusively on writing and making television shows for the VPRO—Schippers referred to television as "the greatest gallery in the world".The work of art consists of the spire of a church tower rising up just above the surface of a pond, suggesting that the church itself has sunken deeply. This partly mysterious quality was Schippers' goal, and was supposed to bring life to the college campus.On the occasion of Schippers' seventieth birthday, a replica of the tower was revealed in Kortrickvijver, near the Willy Dobbeplantsoen in Olst. The replica, like the Willy Dobbeplantsoen, was made by the "Gentlemen's Society" De Nuts Neut. In February 2013 the tower had been moved to an area in between the summer- and winter dikes of the IJssel river, an area that promptly flooded.

List of outdoor sculptures in the Netherlands

Category:Buildings and structures in Enschede

Category:Outdoor sculptures in the Netherlands


Torentje van Drienerlo

Prompt: Explain the Description of this artwork, Torentje van Drienerlo.

Schippers made the tower long after he had left a career in visual arts for television. In the 1960s, he was associated with the Fluxus movement and had gained a reputation for absurdist and controversial works of art, including the famous Pindakaasvloer (1962–1967), consisting basically of a floor covered with peanut butter. He worked on short films as well, with Wim van der Linden and others, but his relations with the established art world were troubled and by the early 1970s he was working almost exclusively on writing and making television shows for the VPRO—Schippers referred to television as "the greatest gallery in the world".The work of art consists of the spire of a church tower rising up just above the surface of a pond, suggesting that the church itself has sunken deeply. This partly mysterious quality was Schippers' goal, and was supposed to bring life to the college campus.On the occasion of Schippers' seventieth birthday, a replica of the tower was revealed in Kortrickvijver, near the Willy Dobbeplantsoen in Olst. The replica, like the Willy Dobbeplantsoen, was made by the "Gentlemen's Society" De Nuts Neut. In February 2013 the tower had been moved to an area in between the summer- and winter dikes of the IJssel river, an area that promptly flooded.

List of outdoor sculptures in the Netherlands

Category:Buildings and structures in Enschede

Category:Outdoor sculptures in the Netherlands


Torentje van Drienerlo

Prompt: How does Torentje van Drienerlo explain its Description?

Schippers made the tower long after he had left a career in visual arts for television. In the 1960s, he was associated with the Fluxus movement and had gained a reputation for absurdist and controversial works of art, including the famous Pindakaasvloer (1962–1967), consisting basically of a floor covered with peanut butter. He worked on short films as well, with Wim van der Linden and others, but his relations with the established art world were troubled and by the early 1970s he was working almost exclusively on writing and making television shows for the VPRO—Schippers referred to television as "the greatest gallery in the world".The work of art consists of the spire of a church tower rising up just above the surface of a pond, suggesting that the church itself has sunken deeply. This partly mysterious quality was Schippers' goal, and was supposed to bring life to the college campus.On the occasion of Schippers' seventieth birthday, a replica of the tower was revealed in Kortrickvijver, near the Willy Dobbeplantsoen in Olst. The replica, like the Willy Dobbeplantsoen, was made by the "Gentlemen's Society" De Nuts Neut. In February 2013 the tower had been moved to an area in between the summer- and winter dikes of the IJssel river, an area that promptly flooded.

List of outdoor sculptures in the Netherlands

Category:Buildings and structures in Enschede

Category:Outdoor sculptures in the Netherlands


Torentje van Drienerlo

Prompt: In Torentje van Drienerlo, how is the Description discussed?

Schippers made the tower long after he had left a career in visual arts for television. In the 1960s, he was associated with the Fluxus movement and had gained a reputation for absurdist and controversial works of art, including the famous Pindakaasvloer (1962–1967), consisting basically of a floor covered with peanut butter. He worked on short films as well, with Wim van der Linden and others, but his relations with the established art world were troubled and by the early 1970s he was working almost exclusively on writing and making television shows for the VPRO—Schippers referred to television as "the greatest gallery in the world".The work of art consists of the spire of a church tower rising up just above the surface of a pond, suggesting that the church itself has sunken deeply. This partly mysterious quality was Schippers' goal, and was supposed to bring life to the college campus.On the occasion of Schippers' seventieth birthday, a replica of the tower was revealed in Kortrickvijver, near the Willy Dobbeplantsoen in Olst. The replica, like the Willy Dobbeplantsoen, was made by the "Gentlemen's Society" De Nuts Neut. In February 2013 the tower had been moved to an area in between the summer- and winter dikes of the IJssel river, an area that promptly flooded.

List of outdoor sculptures in the Netherlands

Category:Buildings and structures in Enschede

Category:Outdoor sculptures in the Netherlands


Torentje van Drienerlo

Prompt: Focus on Torentje van Drienerlo and explain the Campus life.

The University of Twente is proud of its extensive collection of art objects on campus, and the tower is the best-known of them all. As a landmark on the UT campus it is a center of year-round activity. In the wintertime, the pond is the location for short-track skating events and the end location for the Elfvijvertocht (the UT variation on the Elfstedentocht since 1987, but with skaters skating on eleven ponds instead of by eleven cities). During soccer tournaments Dutch and German students occupy the tower alternately to hang national flags on, and during rush week events students swim to it—in March.

List of outdoor sculptures in the Netherlands

Category:Buildings and structures in Enschede

Category:Outdoor sculptures in the Netherlands


Torentje van Drienerlo

Prompt: Explain the Campus life of this artwork, Torentje van Drienerlo.

The University of Twente is proud of its extensive collection of art objects on campus, and the tower is the best-known of them all. As a landmark on the UT campus it is a center of year-round activity. In the wintertime, the pond is the location for short-track skating events and the end location for the Elfvijvertocht (the UT variation on the Elfstedentocht since 1987, but with skaters skating on eleven ponds instead of by eleven cities). During soccer tournaments Dutch and German students occupy the tower alternately to hang national flags on, and during rush week events students swim to it—in March.

List of outdoor sculptures in the Netherlands

Category:Buildings and structures in Enschede

Category:Outdoor sculptures in the Netherlands


Torentje van Drienerlo

Prompt: How does Torentje van Drienerlo explain its Campus life?

The University of Twente is proud of its extensive collection of art objects on campus, and the tower is the best-known of them all. As a landmark on the UT campus it is a center of year-round activity. In the wintertime, the pond is the location for short-track skating events and the end location for the Elfvijvertocht (the UT variation on the Elfstedentocht since 1987, but with skaters skating on eleven ponds instead of by eleven cities). During soccer tournaments Dutch and German students occupy the tower alternately to hang national flags on, and during rush week events students swim to it—in March.

List of outdoor sculptures in the Netherlands

Category:Buildings and structures in Enschede

Category:Outdoor sculptures in the Netherlands


Torentje van Drienerlo

Prompt: In Torentje van Drienerlo, how is the Campus life discussed?

The University of Twente is proud of its extensive collection of art objects on campus, and the tower is the best-known of them all. As a landmark on the UT campus it is a center of year-round activity. In the wintertime, the pond is the location for short-track skating events and the end location for the Elfvijvertocht (the UT variation on the Elfstedentocht since 1987, but with skaters skating on eleven ponds instead of by eleven cities). During soccer tournaments Dutch and German students occupy the tower alternately to hang national flags on, and during rush week events students swim to it—in March.

List of outdoor sculptures in the Netherlands

Category:Buildings and structures in Enschede

Category:Outdoor sculptures in the Netherlands


The Menaced Assassin

Prompt: Focus on The Menaced Assassin and explain the abstract.

The Menaced Assassin (French: L'Assassin menacé) is a 1927 oil on canvas painting by Belgian surrealist artist René Magritte.The main subject of the painting is a blood-smeared nude woman, seen lying on a couch. The assassin of the painting's title, a well-dressed man, stands ready to leave, his coat and hat on a chair next to his bag. He is however delayed by the sound of music, and in an unhurriedly relaxed manner, listens to a gramophone. In the meantime, two men armed with club and net wait in the foyer to ensnare him, as three more men also watch from over the balcony. Outside, we can see snowy mountains. It is a simple painting at first glance, typical of Magritte and surrealist art in general.

Category:Paintings in the Museum of Modern Art (New York City)


The Menaced Assassin

Prompt: Explain the abstract of this artwork, The Menaced Assassin.

The Menaced Assassin (French: L'Assassin menacé) is a 1927 oil on canvas painting by Belgian surrealist artist René Magritte.The main subject of the painting is a blood-smeared nude woman, seen lying on a couch. The assassin of the painting's title, a well-dressed man, stands ready to leave, his coat and hat on a chair next to his bag. He is however delayed by the sound of music, and in an unhurriedly relaxed manner, listens to a gramophone. In the meantime, two men armed with club and net wait in the foyer to ensnare him, as three more men also watch from over the balcony. Outside, we can see snowy mountains. It is a simple painting at first glance, typical of Magritte and surrealist art in general.

Category:Paintings in the Museum of Modern Art (New York City)


The Menaced Assassin

Prompt: How does The Menaced Assassin explain its abstract?

The Menaced Assassin (French: L'Assassin menacé) is a 1927 oil on canvas painting by Belgian surrealist artist René Magritte.The main subject of the painting is a blood-smeared nude woman, seen lying on a couch. The assassin of the painting's title, a well-dressed man, stands ready to leave, his coat and hat on a chair next to his bag. He is however delayed by the sound of music, and in an unhurriedly relaxed manner, listens to a gramophone. In the meantime, two men armed with club and net wait in the foyer to ensnare him, as three more men also watch from over the balcony. Outside, we can see snowy mountains. It is a simple painting at first glance, typical of Magritte and surrealist art in general.

Category:Paintings in the Museum of Modern Art (New York City)


The Menaced Assassin

Prompt: In The Menaced Assassin, how is the abstract discussed?

The Menaced Assassin (French: L'Assassin menacé) is a 1927 oil on canvas painting by Belgian surrealist artist René Magritte.The main subject of the painting is a blood-smeared nude woman, seen lying on a couch. The assassin of the painting's title, a well-dressed man, stands ready to leave, his coat and hat on a chair next to his bag. He is however delayed by the sound of music, and in an unhurriedly relaxed manner, listens to a gramophone. In the meantime, two men armed with club and net wait in the foyer to ensnare him, as three more men also watch from over the balcony. Outside, we can see snowy mountains. It is a simple painting at first glance, typical of Magritte and surrealist art in general.

Category:Paintings in the Museum of Modern Art (New York City)


Torso Fragment

Prompt: Focus on Torso Fragment and explain the abstract.

Torso Fragment, a public sculpture by the American artist Casey Eskridge, is located on the Indiana University–Purdue University Indianapolis (IUPUI) campus, near downtown Indianapolis, Indiana. The piece was donated to IUPUI and is located outside of the west entrance to Eskenazi Hall on the IUPUI campus. Eskenazi Hall houses Indiana University’s Herron School of Art and Design and is located at 735 W. New York Street in Indianapolis. The sculpture was created in 2005.Torso Fragment is 20" long by 17" wide by 37" high. The metal work of public art stands atop a concrete base, with a label identifying the artist, title and year of creation on the proper front (south side) of the base.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: Explain the abstract of this artwork, Torso Fragment.

Torso Fragment, a public sculpture by the American artist Casey Eskridge, is located on the Indiana University–Purdue University Indianapolis (IUPUI) campus, near downtown Indianapolis, Indiana. The piece was donated to IUPUI and is located outside of the west entrance to Eskenazi Hall on the IUPUI campus. Eskenazi Hall houses Indiana University’s Herron School of Art and Design and is located at 735 W. New York Street in Indianapolis. The sculpture was created in 2005.Torso Fragment is 20" long by 17" wide by 37" high. The metal work of public art stands atop a concrete base, with a label identifying the artist, title and year of creation on the proper front (south side) of the base.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: How does Torso Fragment explain its abstract?

Torso Fragment, a public sculpture by the American artist Casey Eskridge, is located on the Indiana University–Purdue University Indianapolis (IUPUI) campus, near downtown Indianapolis, Indiana. The piece was donated to IUPUI and is located outside of the west entrance to Eskenazi Hall on the IUPUI campus. Eskenazi Hall houses Indiana University’s Herron School of Art and Design and is located at 735 W. New York Street in Indianapolis. The sculpture was created in 2005.Torso Fragment is 20" long by 17" wide by 37" high. The metal work of public art stands atop a concrete base, with a label identifying the artist, title and year of creation on the proper front (south side) of the base.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: In Torso Fragment, how is the abstract discussed?

Torso Fragment, a public sculpture by the American artist Casey Eskridge, is located on the Indiana University–Purdue University Indianapolis (IUPUI) campus, near downtown Indianapolis, Indiana. The piece was donated to IUPUI and is located outside of the west entrance to Eskenazi Hall on the IUPUI campus. Eskenazi Hall houses Indiana University’s Herron School of Art and Design and is located at 735 W. New York Street in Indianapolis. The sculpture was created in 2005.Torso Fragment is 20" long by 17" wide by 37" high. The metal work of public art stands atop a concrete base, with a label identifying the artist, title and year of creation on the proper front (south side) of the base.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: Focus on Torso Fragment and explain the Description.

"The torso piece, commissioned by his alma mater, the Herron School of Art and Design in Indianapolis, resembles a piece from classical antiquity, except that instead of being carved in stone, it's formed from aluminum." Eskridge's creation of Torso Fragment was clearly influenced by the classical sculpture developed during the 5th century BC in Ancient Greece and the exaggerated contrapposto form.This silver sculpture of a male torso twists in a classical S Curve form, with the proper right thigh extending forward and its counterpart — the proper left thigh — in a flexed, straight position. The S Curve continues with a slight twist in the torso and finishes with the proper right shoulder raised while proper left shoulder slacked and extended downward. The sculpture has been described as "a truncated male figure that shows a muscular torso slightly turned - might have been lifted from an archaeological ruin." Departing from this reference to classical sculpture, Torso Fragment is hollow and aluminum, reminding a viewer of its modern origins.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: Explain the Description of this artwork, Torso Fragment.

"The torso piece, commissioned by his alma mater, the Herron School of Art and Design in Indianapolis, resembles a piece from classical antiquity, except that instead of being carved in stone, it's formed from aluminum." Eskridge's creation of Torso Fragment was clearly influenced by the classical sculpture developed during the 5th century BC in Ancient Greece and the exaggerated contrapposto form.This silver sculpture of a male torso twists in a classical S Curve form, with the proper right thigh extending forward and its counterpart — the proper left thigh — in a flexed, straight position. The S Curve continues with a slight twist in the torso and finishes with the proper right shoulder raised while proper left shoulder slacked and extended downward. The sculpture has been described as "a truncated male figure that shows a muscular torso slightly turned - might have been lifted from an archaeological ruin." Departing from this reference to classical sculpture, Torso Fragment is hollow and aluminum, reminding a viewer of its modern origins.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: How does Torso Fragment explain its Description?

"The torso piece, commissioned by his alma mater, the Herron School of Art and Design in Indianapolis, resembles a piece from classical antiquity, except that instead of being carved in stone, it's formed from aluminum." Eskridge's creation of Torso Fragment was clearly influenced by the classical sculpture developed during the 5th century BC in Ancient Greece and the exaggerated contrapposto form.This silver sculpture of a male torso twists in a classical S Curve form, with the proper right thigh extending forward and its counterpart — the proper left thigh — in a flexed, straight position. The S Curve continues with a slight twist in the torso and finishes with the proper right shoulder raised while proper left shoulder slacked and extended downward. The sculpture has been described as "a truncated male figure that shows a muscular torso slightly turned - might have been lifted from an archaeological ruin." Departing from this reference to classical sculpture, Torso Fragment is hollow and aluminum, reminding a viewer of its modern origins.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: In Torso Fragment, how is the Description discussed?

"The torso piece, commissioned by his alma mater, the Herron School of Art and Design in Indianapolis, resembles a piece from classical antiquity, except that instead of being carved in stone, it's formed from aluminum." Eskridge's creation of Torso Fragment was clearly influenced by the classical sculpture developed during the 5th century BC in Ancient Greece and the exaggerated contrapposto form.This silver sculpture of a male torso twists in a classical S Curve form, with the proper right thigh extending forward and its counterpart — the proper left thigh — in a flexed, straight position. The S Curve continues with a slight twist in the torso and finishes with the proper right shoulder raised while proper left shoulder slacked and extended downward. The sculpture has been described as "a truncated male figure that shows a muscular torso slightly turned - might have been lifted from an archaeological ruin." Departing from this reference to classical sculpture, Torso Fragment is hollow and aluminum, reminding a viewer of its modern origins.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: Focus on Torso Fragment and explain the Information.

Torso Fragment is one of three sculptures by Eskridge on the campus of IUPUI. The other two works are a commissioned fictional bust of the patron saint of nurses, St. Camillus de Lellis, installed in the School of Nursing, and a bust of Dr. Joseph T. Taylor, the first dean of the School of Liberal Arts at IUPUI.Torso Fragment was created in 2005 for the First Sculpture Invitational. It is located outdoors, just west of Eskenazi Hall.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: Explain the Information of this artwork, Torso Fragment.

Torso Fragment is one of three sculptures by Eskridge on the campus of IUPUI. The other two works are a commissioned fictional bust of the patron saint of nurses, St. Camillus de Lellis, installed in the School of Nursing, and a bust of Dr. Joseph T. Taylor, the first dean of the School of Liberal Arts at IUPUI.Torso Fragment was created in 2005 for the First Sculpture Invitational. It is located outdoors, just west of Eskenazi Hall.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: How does Torso Fragment explain its Information?

Torso Fragment is one of three sculptures by Eskridge on the campus of IUPUI. The other two works are a commissioned fictional bust of the patron saint of nurses, St. Camillus de Lellis, installed in the School of Nursing, and a bust of Dr. Joseph T. Taylor, the first dean of the School of Liberal Arts at IUPUI.Torso Fragment was created in 2005 for the First Sculpture Invitational. It is located outdoors, just west of Eskenazi Hall.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: In Torso Fragment, how is the Information discussed?

Torso Fragment is one of three sculptures by Eskridge on the campus of IUPUI. The other two works are a commissioned fictional bust of the patron saint of nurses, St. Camillus de Lellis, installed in the School of Nursing, and a bust of Dr. Joseph T. Taylor, the first dean of the School of Liberal Arts at IUPUI.Torso Fragment was created in 2005 for the First Sculpture Invitational. It is located outdoors, just west of Eskenazi Hall.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: In the context of Torso Fragment, explain the Acquisition and the Information.

Torso Fragment is part of a collection of outdoor sculptures displayed and located on the IUPUI campus.  This sculpture was added to the collection in 2005.  It was selected for the first Public Sculpture Invitational exhibition hosted by the Herron School of Art and Design, which provided a showcase for the work of “15 artists each represented by a single work.”   The exhibit included fifteen public works of art on view outdoors from May 2005 to August 2006. Featured artists included Herron School of Art and Design faculty Katrin Asbury, Greg Hull, and Eric Nordgulen. Other artists included David Bellamy, Barbara Cooper, Tom Otterness, John Ruppert, James Wille Faust, Edward Mayer, Don Gummer, Judith Shea, Casey Eskridge, Wim Delvoye, Tom Sachs, and Arney Nadler. Funds from the Cultural Development Commission, Ruth Lilly, IU New Frontiers Grant Program, and the IUPUI Campus Arts Committee supported the exhibition.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: Explain the Acquisition about the Information of this artwork, Torso Fragment.

Torso Fragment is part of a collection of outdoor sculptures displayed and located on the IUPUI campus.  This sculpture was added to the collection in 2005.  It was selected for the first Public Sculpture Invitational exhibition hosted by the Herron School of Art and Design, which provided a showcase for the work of “15 artists each represented by a single work.”   The exhibit included fifteen public works of art on view outdoors from May 2005 to August 2006. Featured artists included Herron School of Art and Design faculty Katrin Asbury, Greg Hull, and Eric Nordgulen. Other artists included David Bellamy, Barbara Cooper, Tom Otterness, John Ruppert, James Wille Faust, Edward Mayer, Don Gummer, Judith Shea, Casey Eskridge, Wim Delvoye, Tom Sachs, and Arney Nadler. Funds from the Cultural Development Commission, Ruth Lilly, IU New Frontiers Grant Program, and the IUPUI Campus Arts Committee supported the exhibition.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: In Torso Fragment, how is the Acquisition of the Information explained?

Torso Fragment is part of a collection of outdoor sculptures displayed and located on the IUPUI campus.  This sculpture was added to the collection in 2005.  It was selected for the first Public Sculpture Invitational exhibition hosted by the Herron School of Art and Design, which provided a showcase for the work of “15 artists each represented by a single work.”   The exhibit included fifteen public works of art on view outdoors from May 2005 to August 2006. Featured artists included Herron School of Art and Design faculty Katrin Asbury, Greg Hull, and Eric Nordgulen. Other artists included David Bellamy, Barbara Cooper, Tom Otterness, John Ruppert, James Wille Faust, Edward Mayer, Don Gummer, Judith Shea, Casey Eskridge, Wim Delvoye, Tom Sachs, and Arney Nadler. Funds from the Cultural Development Commission, Ruth Lilly, IU New Frontiers Grant Program, and the IUPUI Campus Arts Committee supported the exhibition.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: Describe the characteristics of the Acquisition in Torso Fragment's Information.

Torso Fragment is part of a collection of outdoor sculptures displayed and located on the IUPUI campus.  This sculpture was added to the collection in 2005.  It was selected for the first Public Sculpture Invitational exhibition hosted by the Herron School of Art and Design, which provided a showcase for the work of “15 artists each represented by a single work.”   The exhibit included fifteen public works of art on view outdoors from May 2005 to August 2006. Featured artists included Herron School of Art and Design faculty Katrin Asbury, Greg Hull, and Eric Nordgulen. Other artists included David Bellamy, Barbara Cooper, Tom Otterness, John Ruppert, James Wille Faust, Edward Mayer, Don Gummer, Judith Shea, Casey Eskridge, Wim Delvoye, Tom Sachs, and Arney Nadler. Funds from the Cultural Development Commission, Ruth Lilly, IU New Frontiers Grant Program, and the IUPUI Campus Arts Committee supported the exhibition.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: Focus on Torso Fragment and explain the Artist.

Casey Eskridge grew up in rural Indiana, the son of a farmer. He spent his time “playing sports and being outdoors”.  Eskridge is best known for a “naturalistic approach to the figure, recognizing human imperfections and the character within the figure".   Eskridge, who earned his bachelor's degree from the Herron School of Art and Design in 1997  received his Master of Fine Arts degree in 2002 from the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania.  He works from his home, a "converted church built in 1873 in the southern Chester County", in Avondale, Pennsylvania, as a professional sculptor.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: Explain the Artist of this artwork, Torso Fragment.

Casey Eskridge grew up in rural Indiana, the son of a farmer. He spent his time “playing sports and being outdoors”.  Eskridge is best known for a “naturalistic approach to the figure, recognizing human imperfections and the character within the figure".   Eskridge, who earned his bachelor's degree from the Herron School of Art and Design in 1997  received his Master of Fine Arts degree in 2002 from the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania.  He works from his home, a "converted church built in 1873 in the southern Chester County", in Avondale, Pennsylvania, as a professional sculptor.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: How does Torso Fragment explain its Artist?

Casey Eskridge grew up in rural Indiana, the son of a farmer. He spent his time “playing sports and being outdoors”.  Eskridge is best known for a “naturalistic approach to the figure, recognizing human imperfections and the character within the figure".   Eskridge, who earned his bachelor's degree from the Herron School of Art and Design in 1997  received his Master of Fine Arts degree in 2002 from the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania.  He works from his home, a "converted church built in 1873 in the southern Chester County", in Avondale, Pennsylvania, as a professional sculptor.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Torso Fragment

Prompt: In Torso Fragment, how is the Artist discussed?

Casey Eskridge grew up in rural Indiana, the son of a farmer. He spent his time “playing sports and being outdoors”.  Eskridge is best known for a “naturalistic approach to the figure, recognizing human imperfections and the character within the figure".   Eskridge, who earned his bachelor's degree from the Herron School of Art and Design in 1997  received his Master of Fine Arts degree in 2002 from the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania.  He works from his home, a "converted church built in 1873 in the southern Chester County", in Avondale, Pennsylvania, as a professional sculptor.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

alt=This image is an excellent educational example of the S Curve art form in modern and classical sculpture.

Category:Outdoor sculptures in Indianapolis

''Torso Fragment Proper Back'', by Casey Eskridge, 2005. Notice how the ''S Curve'' is clearly visible from the proper back of the sculpture.

Indiana University-Purdue University Indianapolis

:File:Eskenazi Hall - IUPUI - DSC00471.JPG


Prompt: Focus on Statue of Robert the Bruce, Stirling Castle and explain the abstract.

The statue of Robert the Bruce on the esplanade at Stirling Castle, Stirling, is a 1876 work sculpted by Andrew Currie and designed by illustrator George Cruikshank. As of 2020, the statue is featured on the Clydesdale Bank £20 note.

Category:Category C listed buildings in Stirling (council area)

Category:Buildings and structures in Stirling (city)


Prompt: Explain the abstract of this artwork, Statue of Robert the Bruce, Stirling Castle.

The statue of Robert the Bruce on the esplanade at Stirling Castle, Stirling, is a 1876 work sculpted by Andrew Currie and designed by illustrator George Cruikshank. As of 2020, the statue is featured on the Clydesdale Bank £20 note.

Category:Category C listed buildings in Stirling (council area)

Category:Buildings and structures in Stirling (city)


Prompt: How does Statue of Robert the Bruce, Stirling Castle explain its abstract?

The statue of Robert the Bruce on the esplanade at Stirling Castle, Stirling, is a 1876 work sculpted by Andrew Currie and designed by illustrator George Cruikshank. As of 2020, the statue is featured on the Clydesdale Bank £20 note.

Category:Category C listed buildings in Stirling (council area)

Category:Buildings and structures in Stirling (city)


Prompt: In Statue of Robert the Bruce, Stirling Castle, how is the abstract discussed?

The statue of Robert the Bruce on the esplanade at Stirling Castle, Stirling, is a 1876 work sculpted by Andrew Currie and designed by illustrator George Cruikshank. As of 2020, the statue is featured on the Clydesdale Bank £20 note.

Category:Category C listed buildings in Stirling (council area)

Category:Buildings and structures in Stirling (city)


Prompt: Focus on Statue of Robert the Bruce, Stirling Castle and explain the Description.

The stone sculpture depicts Robert the Bruce in chain mail with his hand on the pommel of his sword. To the back side is his shield and axe. On the plinth is a shield with a lion rampant. The figure faces south, towards the location of the Battle of Bannockburn. The statue is a C listed building.

Category:Category C listed buildings in Stirling (council area)

Category:Buildings and structures in Stirling (city)


Prompt: Explain the Description of this artwork, Statue of Robert the Bruce, Stirling Castle.

The stone sculpture depicts Robert the Bruce in chain mail with his hand on the pommel of his sword. To the back side is his shield and axe. On the plinth is a shield with a lion rampant. The figure faces south, towards the location of the Battle of Bannockburn. The statue is a C listed building.

Category:Category C listed buildings in Stirling (council area)

Category:Buildings and structures in Stirling (city)


Prompt: How does Statue of Robert the Bruce, Stirling Castle explain its Description?

The stone sculpture depicts Robert the Bruce in chain mail with his hand on the pommel of his sword. To the back side is his shield and axe. On the plinth is a shield with a lion rampant. The figure faces south, towards the location of the Battle of Bannockburn. The statue is a C listed building.

Category:Category C listed buildings in Stirling (council area)

Category:Buildings and structures in Stirling (city)


Prompt: In Statue of Robert the Bruce, Stirling Castle, how is the Description discussed?

The stone sculpture depicts Robert the Bruce in chain mail with his hand on the pommel of his sword. To the back side is his shield and axe. On the plinth is a shield with a lion rampant. The figure faces south, towards the location of the Battle of Bannockburn. The statue is a C listed building.

Category:Category C listed buildings in Stirling (council area)

Category:Buildings and structures in Stirling (city)


Children Dancing at a Party

Prompt: Focus on Children Dancing at a Party and explain the abstract.

Children Dancing at a Party, produced by Norman Rockwell, was used as the cover for the January 26, 1918 issue of The Saturday Evening Post. This painting has also been called Boy Stepping on Girl's Toe and Pardon Me.  The original painting, oil on canvas measuring 23x19 inches, is in the collection of the National Museum of American Illustration.

Category:Works originally published in The Saturday Evening Post


Children Dancing at a Party

Prompt: Explain the abstract of this artwork, Children Dancing at a Party.

Children Dancing at a Party, produced by Norman Rockwell, was used as the cover for the January 26, 1918 issue of The Saturday Evening Post. This painting has also been called Boy Stepping on Girl's Toe and Pardon Me.  The original painting, oil on canvas measuring 23x19 inches, is in the collection of the National Museum of American Illustration.

Category:Works originally published in The Saturday Evening Post


Children Dancing at a Party

Prompt: How does Children Dancing at a Party explain its abstract?

Children Dancing at a Party, produced by Norman Rockwell, was used as the cover for the January 26, 1918 issue of The Saturday Evening Post. This painting has also been called Boy Stepping on Girl's Toe and Pardon Me.  The original painting, oil on canvas measuring 23x19 inches, is in the collection of the National Museum of American Illustration.

Category:Works originally published in The Saturday Evening Post


Children Dancing at a Party

Prompt: In Children Dancing at a Party, how is the abstract discussed?

Children Dancing at a Party, produced by Norman Rockwell, was used as the cover for the January 26, 1918 issue of The Saturday Evening Post. This painting has also been called Boy Stepping on Girl's Toe and Pardon Me.  The original painting, oil on canvas measuring 23x19 inches, is in the collection of the National Museum of American Illustration.

Category:Works originally published in The Saturday Evening Post


Children Dancing at a Party

Prompt: Focus on Children Dancing at a Party and explain the Background.

The painting  shows a humorous but embarrassing situation in which a boy has accidentally stepped on a girl's foot while dancing.  The girl is holding her foot and looking at the boy with an expression that appears to be asking “Why did you do that?”  The boy looks to be trying to apologize, holding his hands, palms up, towards the girl.  His red cheeks show his embarrassment at the situation.  There is a second couple dancing in the background who appear to be amused by the scene unfolding in front of them.  There is a formal feel with the clothes that the children are dressed in.

National Museum of American Illustration

Category:Works originally published in The Saturday Evening Post


Children Dancing at a Party

Prompt: Explain the Background of this artwork, Children Dancing at a Party.

The painting  shows a humorous but embarrassing situation in which a boy has accidentally stepped on a girl's foot while dancing.  The girl is holding her foot and looking at the boy with an expression that appears to be asking “Why did you do that?”  The boy looks to be trying to apologize, holding his hands, palms up, towards the girl.  His red cheeks show his embarrassment at the situation.  There is a second couple dancing in the background who appear to be amused by the scene unfolding in front of them.  There is a formal feel with the clothes that the children are dressed in.

National Museum of American Illustration

Category:Works originally published in The Saturday Evening Post


Children Dancing at a Party

Prompt: How does Children Dancing at a Party explain its Background?

The painting  shows a humorous but embarrassing situation in which a boy has accidentally stepped on a girl's foot while dancing.  The girl is holding her foot and looking at the boy with an expression that appears to be asking “Why did you do that?”  The boy looks to be trying to apologize, holding his hands, palms up, towards the girl.  His red cheeks show his embarrassment at the situation.  There is a second couple dancing in the background who appear to be amused by the scene unfolding in front of them.  There is a formal feel with the clothes that the children are dressed in.

National Museum of American Illustration

Category:Works originally published in The Saturday Evening Post


Children Dancing at a Party

Prompt: In Children Dancing at a Party, how is the Background discussed?

The painting  shows a humorous but embarrassing situation in which a boy has accidentally stepped on a girl's foot while dancing.  The girl is holding her foot and looking at the boy with an expression that appears to be asking “Why did you do that?”  The boy looks to be trying to apologize, holding his hands, palms up, towards the girl.  His red cheeks show his embarrassment at the situation.  There is a second couple dancing in the background who appear to be amused by the scene unfolding in front of them.  There is a formal feel with the clothes that the children are dressed in.

National Museum of American Illustration

Category:Works originally published in The Saturday Evening Post


Brushstroke

Prompt: Focus on Brushstroke and explain the abstract.

Brushstroke is a sculpture by Roy Lichtenstein. There are two copies. The original was created in 2001 for the Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain. The second was delivered to the Hirshhorn Museum and Sculpture Garden in Washington, DC, on September 16, 2003, and dedicated on October 25, 2003.

Category:Sculptures in the Smithsonian Institution

Category:Abstract sculptures in Washington, D.C.

Category:Aluminum sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.

Category:Hirshhorn Museum and Sculpture Garden


Brushstroke

Prompt: Explain the abstract of this artwork, Brushstroke.

Brushstroke is a sculpture by Roy Lichtenstein. There are two copies. The original was created in 2001 for the Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain. The second was delivered to the Hirshhorn Museum and Sculpture Garden in Washington, DC, on September 16, 2003, and dedicated on October 25, 2003.

Category:Sculptures in the Smithsonian Institution

Category:Abstract sculptures in Washington, D.C.

Category:Aluminum sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.

Category:Hirshhorn Museum and Sculpture Garden


Brushstroke

Prompt: How does Brushstroke explain its abstract?

Brushstroke is a sculpture by Roy Lichtenstein. There are two copies. The original was created in 2001 for the Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain. The second was delivered to the Hirshhorn Museum and Sculpture Garden in Washington, DC, on September 16, 2003, and dedicated on October 25, 2003.

Category:Sculptures in the Smithsonian Institution

Category:Abstract sculptures in Washington, D.C.

Category:Aluminum sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.

Category:Hirshhorn Museum and Sculpture Garden


Brushstroke

Prompt: In Brushstroke, how is the abstract discussed?

Brushstroke is a sculpture by Roy Lichtenstein. There are two copies. The original was created in 2001 for the Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain. The second was delivered to the Hirshhorn Museum and Sculpture Garden in Washington, DC, on September 16, 2003, and dedicated on October 25, 2003.

Category:Sculptures in the Smithsonian Institution

Category:Abstract sculptures in Washington, D.C.

Category:Aluminum sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.

Category:Hirshhorn Museum and Sculpture Garden


Seven Sacraments Altarpiece

Prompt: Focus on Seven Sacraments Altarpiece and explain the abstract.

The Seven Sacraments Altarpiece is a fixed-wing triptych by the Early Netherlandish artist Rogier van der Weyden and his workshop. It was painted from 1445 to 1450, probably for a church in Poligny (Max J. Friedländer claimed that it was commissioned by the Bishop Jean Chevrot), and is now in the Royal Museum of Fine Arts, Antwerp. It depicts the seven sacraments of the Roman Catholic Church. On the left panel are baptism, confirmation and confession and on the right hand panel the ordination of a priest, marriage and the last rites. The central panel (possibly the only autograph part of the work) is dominated by a crucifixion in the foreground, with the sacrament of the Eucharist in the background. Angels hover over each sacrament with scrolls, with clothes colour-matched to the sacraments, from white for baptism to black for the last rites. The side panels also depict the altarpiece's commissioners, along with some portrait heads only added shortly before the work was completed. Two coats of arms (probably that of the commissioners) (left: "sable" chevron on "or" field; right: "argent" tower on "sable" field) are painted in the spandrels of the painting's inner frame.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings by Rogier van der Weyden

Category:Paintings in the Royal Museum of Fine Arts Antwerp


Seven Sacraments Altarpiece

Prompt: Explain the abstract of this artwork, Seven Sacraments Altarpiece.

The Seven Sacraments Altarpiece is a fixed-wing triptych by the Early Netherlandish artist Rogier van der Weyden and his workshop. It was painted from 1445 to 1450, probably for a church in Poligny (Max J. Friedländer claimed that it was commissioned by the Bishop Jean Chevrot), and is now in the Royal Museum of Fine Arts, Antwerp. It depicts the seven sacraments of the Roman Catholic Church. On the left panel are baptism, confirmation and confession and on the right hand panel the ordination of a priest, marriage and the last rites. The central panel (possibly the only autograph part of the work) is dominated by a crucifixion in the foreground, with the sacrament of the Eucharist in the background. Angels hover over each sacrament with scrolls, with clothes colour-matched to the sacraments, from white for baptism to black for the last rites. The side panels also depict the altarpiece's commissioners, along with some portrait heads only added shortly before the work was completed. Two coats of arms (probably that of the commissioners) (left: "sable" chevron on "or" field; right: "argent" tower on "sable" field) are painted in the spandrels of the painting's inner frame.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings by Rogier van der Weyden

Category:Paintings in the Royal Museum of Fine Arts Antwerp


Seven Sacraments Altarpiece

Prompt: How does Seven Sacraments Altarpiece explain its abstract?

The Seven Sacraments Altarpiece is a fixed-wing triptych by the Early Netherlandish artist Rogier van der Weyden and his workshop. It was painted from 1445 to 1450, probably for a church in Poligny (Max J. Friedländer claimed that it was commissioned by the Bishop Jean Chevrot), and is now in the Royal Museum of Fine Arts, Antwerp. It depicts the seven sacraments of the Roman Catholic Church. On the left panel are baptism, confirmation and confession and on the right hand panel the ordination of a priest, marriage and the last rites. The central panel (possibly the only autograph part of the work) is dominated by a crucifixion in the foreground, with the sacrament of the Eucharist in the background. Angels hover over each sacrament with scrolls, with clothes colour-matched to the sacraments, from white for baptism to black for the last rites. The side panels also depict the altarpiece's commissioners, along with some portrait heads only added shortly before the work was completed. Two coats of arms (probably that of the commissioners) (left: "sable" chevron on "or" field; right: "argent" tower on "sable" field) are painted in the spandrels of the painting's inner frame.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings by Rogier van der Weyden

Category:Paintings in the Royal Museum of Fine Arts Antwerp


Seven Sacraments Altarpiece

Prompt: In Seven Sacraments Altarpiece, how is the abstract discussed?

The Seven Sacraments Altarpiece is a fixed-wing triptych by the Early Netherlandish artist Rogier van der Weyden and his workshop. It was painted from 1445 to 1450, probably for a church in Poligny (Max J. Friedländer claimed that it was commissioned by the Bishop Jean Chevrot), and is now in the Royal Museum of Fine Arts, Antwerp. It depicts the seven sacraments of the Roman Catholic Church. On the left panel are baptism, confirmation and confession and on the right hand panel the ordination of a priest, marriage and the last rites. The central panel (possibly the only autograph part of the work) is dominated by a crucifixion in the foreground, with the sacrament of the Eucharist in the background. Angels hover over each sacrament with scrolls, with clothes colour-matched to the sacraments, from white for baptism to black for the last rites. The side panels also depict the altarpiece's commissioners, along with some portrait heads only added shortly before the work was completed. Two coats of arms (probably that of the commissioners) (left: "sable" chevron on "or" field; right: "argent" tower on "sable" field) are painted in the spandrels of the painting's inner frame.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings by Rogier van der Weyden

Category:Paintings in the Royal Museum of Fine Arts Antwerp