Piviale dei Pappagalli

Prompt: In Piviale dei Pappagalli, how is the Donation of the History explained?

There remains a debate at the heart of the Piviale dei Pappagalli history, that being between two coinciding histories. The most popular theory is that the object was donated from King Louis IX of France to Bartolomeo da Breganze alongside the reliquaries of the Thorn of Christ and of the True Cross (1259). During the Bishops return to Vicenza (1260) he constructed the Church of Santa Corona as a place for these relics, the location of which has a symbolic meaning as it was previously a place for the Cathars, who were heretics, hence the presence of the relics and church acted as a cleanser and purifier for this previous perceived evil.As this textile is said to be produced in a Sicilian workshop, it is important to stress King Louis IX connection to Sicily which is made clear through his brother Younger Brother Charles of Anjou, who attained a short reign as King of Sicily (1266–1282). His ascension as King came to fruition through his involvement in the Eighth Crusade which was financially aided by the Pope, specifically Pope Urban IV as well as his brother King Louis IX, which allowed him to further wield influence over the Italian Guelphs and Papal elections. Although the emergence of the Sicilian Vespers rebellion ended Charles of Anjou's reign, it is possible that he may have attained the Piviale during this time and brought it back to Paris and the noble courts. Unfortunately the arrival of the Pivale in Vicenza through the bishop is not documented, thus this missing evidence of its donation and attribution leads scholars to believe in another hypothesis.Some scholars believe that it is more plausible that the Piviale could have been gifted from Federico II to Ezzelino da Romano, as the presence of Federico II in the Veneto region is very well documented, specifically in regards to his connection to Vicenza, as Ezzelinos tyranny is also well known, with the fact that he ruled over Vicenza from 1236 to 1259 with the aid and support of Federico II, demonstrating his strong connection to Ezzelino as a close confidant and ally. In addition, Ezzelino married Federico's daughter, Selvaggia (1238) and it is possible that the mantel was donated to him on this occasion as a matrimonial gift. Following the end of his reign, the liberation of Vicenza (1259–1260) allowed Bishop Bartolomeo da Breganze to assume his leadership position, placing the Piviale within his jurisdiction, as the textile would have passed from Ezzlino's death to the commune of Vicenza then to the Church of Santa Corona, for which the Bishop had built.Although neither of these theories have physical evidence of the inventory of the piece to support them, it can be said that a connection to King Louis IX, may have facilitated stronger associations and more powerful connections than the tyrannical presence of Ezzelino who was aligned with the party of the Ghibellines, who strongly detested papal influence. Here, the object would have attained even greater value following King Louis IX canonisation as St. Louis (1297) heightening its significance as a contact relic of a sanctified object. King Louis IX's stronger association to his Christian faith provides a stark contrast to Ezzelinos excommunication as a heretic by Pope Innocent IV justifying the reason why the Church of Santa Corona would want to erase their connections with a heretical past and a tyrannical leader. Thus, despite the inability to provide any certainty to this change of history, there is a definite reasoning and motive to change the legend and backdate the gift under the already recorded donation inventory from the King of France.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: Describe the characteristics of the Donation in Piviale dei Pappagalli's History.

There remains a debate at the heart of the Piviale dei Pappagalli history, that being between two coinciding histories. The most popular theory is that the object was donated from King Louis IX of France to Bartolomeo da Breganze alongside the reliquaries of the Thorn of Christ and of the True Cross (1259). During the Bishops return to Vicenza (1260) he constructed the Church of Santa Corona as a place for these relics, the location of which has a symbolic meaning as it was previously a place for the Cathars, who were heretics, hence the presence of the relics and church acted as a cleanser and purifier for this previous perceived evil.As this textile is said to be produced in a Sicilian workshop, it is important to stress King Louis IX connection to Sicily which is made clear through his brother Younger Brother Charles of Anjou, who attained a short reign as King of Sicily (1266–1282). His ascension as King came to fruition through his involvement in the Eighth Crusade which was financially aided by the Pope, specifically Pope Urban IV as well as his brother King Louis IX, which allowed him to further wield influence over the Italian Guelphs and Papal elections. Although the emergence of the Sicilian Vespers rebellion ended Charles of Anjou's reign, it is possible that he may have attained the Piviale during this time and brought it back to Paris and the noble courts. Unfortunately the arrival of the Pivale in Vicenza through the bishop is not documented, thus this missing evidence of its donation and attribution leads scholars to believe in another hypothesis.Some scholars believe that it is more plausible that the Piviale could have been gifted from Federico II to Ezzelino da Romano, as the presence of Federico II in the Veneto region is very well documented, specifically in regards to his connection to Vicenza, as Ezzelinos tyranny is also well known, with the fact that he ruled over Vicenza from 1236 to 1259 with the aid and support of Federico II, demonstrating his strong connection to Ezzelino as a close confidant and ally. In addition, Ezzelino married Federico's daughter, Selvaggia (1238) and it is possible that the mantel was donated to him on this occasion as a matrimonial gift. Following the end of his reign, the liberation of Vicenza (1259–1260) allowed Bishop Bartolomeo da Breganze to assume his leadership position, placing the Piviale within his jurisdiction, as the textile would have passed from Ezzlino's death to the commune of Vicenza then to the Church of Santa Corona, for which the Bishop had built.Although neither of these theories have physical evidence of the inventory of the piece to support them, it can be said that a connection to King Louis IX, may have facilitated stronger associations and more powerful connections than the tyrannical presence of Ezzelino who was aligned with the party of the Ghibellines, who strongly detested papal influence. Here, the object would have attained even greater value following King Louis IX canonisation as St. Louis (1297) heightening its significance as a contact relic of a sanctified object. King Louis IX's stronger association to his Christian faith provides a stark contrast to Ezzelinos excommunication as a heretic by Pope Innocent IV justifying the reason why the Church of Santa Corona would want to erase their connections with a heretical past and a tyrannical leader. Thus, despite the inability to provide any certainty to this change of history, there is a definite reasoning and motive to change the legend and backdate the gift under the already recorded donation inventory from the King of France.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: In the context of Piviale dei Pappagalli, explain the Provenance and the History.

Although there is no explicit scholarly material or records which indicates the exact location and workshop which this textile was made, we can assume that due to the lack of silk workshops following the expulsion of Muslims by Frederick II (1220) and the influx of Christian migration, which led to the deviation of silk to raw material such as cotton and linen, that the Piviale must have been made in one of the largest and remaining textile factories within Sicily, that being Palermo's Tiraz Royal Factory.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: Explain the Provenance about the History of this artwork, Piviale dei Pappagalli.

Although there is no explicit scholarly material or records which indicates the exact location and workshop which this textile was made, we can assume that due to the lack of silk workshops following the expulsion of Muslims by Frederick II (1220) and the influx of Christian migration, which led to the deviation of silk to raw material such as cotton and linen, that the Piviale must have been made in one of the largest and remaining textile factories within Sicily, that being Palermo's Tiraz Royal Factory.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: In Piviale dei Pappagalli, how is the Provenance of the History explained?

Although there is no explicit scholarly material or records which indicates the exact location and workshop which this textile was made, we can assume that due to the lack of silk workshops following the expulsion of Muslims by Frederick II (1220) and the influx of Christian migration, which led to the deviation of silk to raw material such as cotton and linen, that the Piviale must have been made in one of the largest and remaining textile factories within Sicily, that being Palermo's Tiraz Royal Factory.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: Describe the characteristics of the Provenance in Piviale dei Pappagalli's History.

Although there is no explicit scholarly material or records which indicates the exact location and workshop which this textile was made, we can assume that due to the lack of silk workshops following the expulsion of Muslims by Frederick II (1220) and the influx of Christian migration, which led to the deviation of silk to raw material such as cotton and linen, that the Piviale must have been made in one of the largest and remaining textile factories within Sicily, that being Palermo's Tiraz Royal Factory.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: In the context of Piviale dei Pappagalli, explain the Restoration and the History.

Within a chest of the church of corona, the director of the Diocesano Museum, Msgr. Francesco Gasparini, found a piece from the textile of the Piviale dei Pappagalli, which aided the restoration process as it allowed proper analyses to ensue, one which had not been able to occur before due to the fragility of the piece. As a result, this led to the publication of a volume of academic text dedicated to the Pivale itself.  Within this text the restorers and conversationalists made a critical analysis of exactly where the piece of fabric could have been positioned in the fabric leading to a further awareness and understanding that the fabric as a whole was shortened and cut off at the edges.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: Explain the Restoration about the History of this artwork, Piviale dei Pappagalli.

Within a chest of the church of corona, the director of the Diocesano Museum, Msgr. Francesco Gasparini, found a piece from the textile of the Piviale dei Pappagalli, which aided the restoration process as it allowed proper analyses to ensue, one which had not been able to occur before due to the fragility of the piece. As a result, this led to the publication of a volume of academic text dedicated to the Pivale itself.  Within this text the restorers and conversationalists made a critical analysis of exactly where the piece of fabric could have been positioned in the fabric leading to a further awareness and understanding that the fabric as a whole was shortened and cut off at the edges.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: In Piviale dei Pappagalli, how is the Restoration of the History explained?

Within a chest of the church of corona, the director of the Diocesano Museum, Msgr. Francesco Gasparini, found a piece from the textile of the Piviale dei Pappagalli, which aided the restoration process as it allowed proper analyses to ensue, one which had not been able to occur before due to the fragility of the piece. As a result, this led to the publication of a volume of academic text dedicated to the Pivale itself.  Within this text the restorers and conversationalists made a critical analysis of exactly where the piece of fabric could have been positioned in the fabric leading to a further awareness and understanding that the fabric as a whole was shortened and cut off at the edges.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: Describe the characteristics of the Restoration in Piviale dei Pappagalli's History.

Within a chest of the church of corona, the director of the Diocesano Museum, Msgr. Francesco Gasparini, found a piece from the textile of the Piviale dei Pappagalli, which aided the restoration process as it allowed proper analyses to ensue, one which had not been able to occur before due to the fragility of the piece. As a result, this led to the publication of a volume of academic text dedicated to the Pivale itself.  Within this text the restorers and conversationalists made a critical analysis of exactly where the piece of fabric could have been positioned in the fabric leading to a further awareness and understanding that the fabric as a whole was shortened and cut off at the edges.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: Focus on Piviale dei Pappagalli and explain the Description.

Technique and MaterialsThe Parrot Cope is made of red samite (from the Greek έξαμιτόι ), a high quality and cost-effective material, derived from the union of six threads that make up the weave. To create a fabric of this size, an ad hoc tension loom would have been used, making the process even more expensive. The shamito technique was typically oriental but is also documented in Palermo in the 12th and 13th centuries.The yarn is made with the laid gold technique, which uses threads with a yellow silk core wrapped in a thin gilded silver foil, and polychrome threads corresponding to the parrots' tails.The dye used is called chermes (or kermes), and is obtained by drying the carapace of Coccus Ilicis. Another type of dye, which has emerged in recent restorations, is madder (Rubia Tinctorum), a less expensive red dye; in the case of the Parrot Cope madder was used to dye the warp, which remains hidden under the weft and, although madder was a less expensive dye than chermes, it was still quite luxurious. The particularity of this use of madder further testifies to the richness of the Vicenza cope.In the Middle Ages the purple color of the cloak would have been associated with the royal origin of the fabric and at the same time with the blood of Christ and consequently the Passion.Uses and meaningFrom the sources it is possible to understand that the parrot cope could also be worn by lay people, as suggested by Eustachio of Bologna, Prior of the preaching fathers of Vicenza, in a letter to Giambattista Marini:«The aforementioned cope made from the mantle of St. Lodovico is to be kept in a locked sacristy, which is kept in a safe and is only carried by superiors and great lords.» (Letter from Eustachio da Bologna to Giambattista Marini, 28 July 1663)From this letter we can deduce the importance given to the cope starting from the seventeenth century, and it was worn in the most important ceremonies although it was considered a contact relic. In 1692 it was decided to burn most of the liturgical vestments present in the Church of Santa Corona in order to obtain gold but the Parrot Cope was explicitly excluded from this practice.«Ab hac tamen combustion exceperunt omnino pluviale quod ex traditione habetur confectum ex regal paludamento d. Ludovici Francorum regis et ab codem B. Bartolomeo de Bragantino dono traditum» (30 June 1692)IconographyThe Piviale dei Pappagalli depicts a series of birds. The pattern is geometrically repeated throughout the drapery and when draped over the wearer's shoulders the birds hold an equal position, so that the feets are on the same level. As the name of the cope suggests the depicted birds are mostly referred to as parrots. Nevertheless, other scholars suggested the possibility that the birds are hawks. When it comes to the iconography, parrots were a popular motif, between the 12th and 14th century. Especially in Sicily, where eastern influences where heavy thanks to the Crusades. A similar motif and with similar provenance shows the Piviale of Boniface which represents parrots and hawks as well.In the Christian world the parrot is believed to be a clean bird that disliked rain. This originated in the background of the parrot which according to the western world came from a mountain in India where it never rained. Due to that believe and the assumption that the parrot would loose its pure colours, when touched by rain, the parrot stood for cleanliness and purity. Whereas the rain was associated with sin.But not just the origin of the bird was of significance, even more important was the main attribute of the parrot. The fact that it could speak like humans linked it directly to the prefiguration of the word of christ. Additionally, there are other connections to the virgin mary, because of the sound of the parrot, which was interpretated as the Christian exclamation "Ave".The iconography of hawks is situated in a more courtly context, because of the association with falconry and the usage as a hunting companion. The hawk is in close contact with its master and was especially among nobleperson a symbole of prestige. Mastering the art of falconry and participating in hunting activities hierarchised and secured social positions at court. Therefore, the hawk symbolised regal power and royalty. In connection with the provenance of the cope, Friedrich II. book De arte venandi cum avibus, which was published 1248 in Sicily, could shed some light on a possible identification of the birds.HoodThe hood is what characterizes a cope as such. The term comes from the fact that originally it would have been a hood, however its shape changed overtime into a more simplified one, resembling an upside-down triangle. Since the Piviale dei pappagalli was not originally a religious mantel, but a lay one, it did not have a hood, therefore one had to be made at a later time.The hood of the Piviale dei pappagalli is the result of a textile stratification, starting from the central piece with figures of saints, which is almost certainly an element of reuse. The blue band with the inscriptions of the names of the saints and the piece with the coat of arms are a later addition. Everything is surrounded by a gold band, which dates back to the 18th century, and by red damascus from the end of the 18th and beginning of the 19th centuries. The central part of the hood depicts three figures of Saints, two angels and natural details. The figure on the left is Saint Dominic, his presence is justified by the fact that the Church of Santa Corona is a Dominican one.On the right there is Saint Denis, as suggested by the inscription (“S. Dionisi”), it is however more plausible that the saint depicted is not the first bishop of Paris but instead Saint Dionysius the Areopagite or Pseudo Dionysius, since Bartolomeo da Breganze was the author of the De Venatione divinis amoris, a commentary of the texts of Dionysius the Areopagite. The reference to this specific saint can be seen as an homage to the legendary receiver of the Piviale dei pappagalli from Louis IX.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: Explain the Description of this artwork, Piviale dei Pappagalli.

Technique and MaterialsThe Parrot Cope is made of red samite (from the Greek έξαμιτόι ), a high quality and cost-effective material, derived from the union of six threads that make up the weave. To create a fabric of this size, an ad hoc tension loom would have been used, making the process even more expensive. The shamito technique was typically oriental but is also documented in Palermo in the 12th and 13th centuries.The yarn is made with the laid gold technique, which uses threads with a yellow silk core wrapped in a thin gilded silver foil, and polychrome threads corresponding to the parrots' tails.The dye used is called chermes (or kermes), and is obtained by drying the carapace of Coccus Ilicis. Another type of dye, which has emerged in recent restorations, is madder (Rubia Tinctorum), a less expensive red dye; in the case of the Parrot Cope madder was used to dye the warp, which remains hidden under the weft and, although madder was a less expensive dye than chermes, it was still quite luxurious. The particularity of this use of madder further testifies to the richness of the Vicenza cope.In the Middle Ages the purple color of the cloak would have been associated with the royal origin of the fabric and at the same time with the blood of Christ and consequently the Passion.Uses and meaningFrom the sources it is possible to understand that the parrot cope could also be worn by lay people, as suggested by Eustachio of Bologna, Prior of the preaching fathers of Vicenza, in a letter to Giambattista Marini:«The aforementioned cope made from the mantle of St. Lodovico is to be kept in a locked sacristy, which is kept in a safe and is only carried by superiors and great lords.» (Letter from Eustachio da Bologna to Giambattista Marini, 28 July 1663)From this letter we can deduce the importance given to the cope starting from the seventeenth century, and it was worn in the most important ceremonies although it was considered a contact relic. In 1692 it was decided to burn most of the liturgical vestments present in the Church of Santa Corona in order to obtain gold but the Parrot Cope was explicitly excluded from this practice.«Ab hac tamen combustion exceperunt omnino pluviale quod ex traditione habetur confectum ex regal paludamento d. Ludovici Francorum regis et ab codem B. Bartolomeo de Bragantino dono traditum» (30 June 1692)IconographyThe Piviale dei Pappagalli depicts a series of birds. The pattern is geometrically repeated throughout the drapery and when draped over the wearer's shoulders the birds hold an equal position, so that the feets are on the same level. As the name of the cope suggests the depicted birds are mostly referred to as parrots. Nevertheless, other scholars suggested the possibility that the birds are hawks. When it comes to the iconography, parrots were a popular motif, between the 12th and 14th century. Especially in Sicily, where eastern influences where heavy thanks to the Crusades. A similar motif and with similar provenance shows the Piviale of Boniface which represents parrots and hawks as well.In the Christian world the parrot is believed to be a clean bird that disliked rain. This originated in the background of the parrot which according to the western world came from a mountain in India where it never rained. Due to that believe and the assumption that the parrot would loose its pure colours, when touched by rain, the parrot stood for cleanliness and purity. Whereas the rain was associated with sin.But not just the origin of the bird was of significance, even more important was the main attribute of the parrot. The fact that it could speak like humans linked it directly to the prefiguration of the word of christ. Additionally, there are other connections to the virgin mary, because of the sound of the parrot, which was interpretated as the Christian exclamation "Ave".The iconography of hawks is situated in a more courtly context, because of the association with falconry and the usage as a hunting companion. The hawk is in close contact with its master and was especially among nobleperson a symbole of prestige. Mastering the art of falconry and participating in hunting activities hierarchised and secured social positions at court. Therefore, the hawk symbolised regal power and royalty. In connection with the provenance of the cope, Friedrich II. book De arte venandi cum avibus, which was published 1248 in Sicily, could shed some light on a possible identification of the birds.HoodThe hood is what characterizes a cope as such. The term comes from the fact that originally it would have been a hood, however its shape changed overtime into a more simplified one, resembling an upside-down triangle. Since the Piviale dei pappagalli was not originally a religious mantel, but a lay one, it did not have a hood, therefore one had to be made at a later time.The hood of the Piviale dei pappagalli is the result of a textile stratification, starting from the central piece with figures of saints, which is almost certainly an element of reuse. The blue band with the inscriptions of the names of the saints and the piece with the coat of arms are a later addition. Everything is surrounded by a gold band, which dates back to the 18th century, and by red damascus from the end of the 18th and beginning of the 19th centuries. The central part of the hood depicts three figures of Saints, two angels and natural details. The figure on the left is Saint Dominic, his presence is justified by the fact that the Church of Santa Corona is a Dominican one.On the right there is Saint Denis, as suggested by the inscription (“S. Dionisi”), it is however more plausible that the saint depicted is not the first bishop of Paris but instead Saint Dionysius the Areopagite or Pseudo Dionysius, since Bartolomeo da Breganze was the author of the De Venatione divinis amoris, a commentary of the texts of Dionysius the Areopagite. The reference to this specific saint can be seen as an homage to the legendary receiver of the Piviale dei pappagalli from Louis IX.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: How does Piviale dei Pappagalli explain its Description?

Technique and MaterialsThe Parrot Cope is made of red samite (from the Greek έξαμιτόι ), a high quality and cost-effective material, derived from the union of six threads that make up the weave. To create a fabric of this size, an ad hoc tension loom would have been used, making the process even more expensive. The shamito technique was typically oriental but is also documented in Palermo in the 12th and 13th centuries.The yarn is made with the laid gold technique, which uses threads with a yellow silk core wrapped in a thin gilded silver foil, and polychrome threads corresponding to the parrots' tails.The dye used is called chermes (or kermes), and is obtained by drying the carapace of Coccus Ilicis. Another type of dye, which has emerged in recent restorations, is madder (Rubia Tinctorum), a less expensive red dye; in the case of the Parrot Cope madder was used to dye the warp, which remains hidden under the weft and, although madder was a less expensive dye than chermes, it was still quite luxurious. The particularity of this use of madder further testifies to the richness of the Vicenza cope.In the Middle Ages the purple color of the cloak would have been associated with the royal origin of the fabric and at the same time with the blood of Christ and consequently the Passion.Uses and meaningFrom the sources it is possible to understand that the parrot cope could also be worn by lay people, as suggested by Eustachio of Bologna, Prior of the preaching fathers of Vicenza, in a letter to Giambattista Marini:«The aforementioned cope made from the mantle of St. Lodovico is to be kept in a locked sacristy, which is kept in a safe and is only carried by superiors and great lords.» (Letter from Eustachio da Bologna to Giambattista Marini, 28 July 1663)From this letter we can deduce the importance given to the cope starting from the seventeenth century, and it was worn in the most important ceremonies although it was considered a contact relic. In 1692 it was decided to burn most of the liturgical vestments present in the Church of Santa Corona in order to obtain gold but the Parrot Cope was explicitly excluded from this practice.«Ab hac tamen combustion exceperunt omnino pluviale quod ex traditione habetur confectum ex regal paludamento d. Ludovici Francorum regis et ab codem B. Bartolomeo de Bragantino dono traditum» (30 June 1692)IconographyThe Piviale dei Pappagalli depicts a series of birds. The pattern is geometrically repeated throughout the drapery and when draped over the wearer's shoulders the birds hold an equal position, so that the feets are on the same level. As the name of the cope suggests the depicted birds are mostly referred to as parrots. Nevertheless, other scholars suggested the possibility that the birds are hawks. When it comes to the iconography, parrots were a popular motif, between the 12th and 14th century. Especially in Sicily, where eastern influences where heavy thanks to the Crusades. A similar motif and with similar provenance shows the Piviale of Boniface which represents parrots and hawks as well.In the Christian world the parrot is believed to be a clean bird that disliked rain. This originated in the background of the parrot which according to the western world came from a mountain in India where it never rained. Due to that believe and the assumption that the parrot would loose its pure colours, when touched by rain, the parrot stood for cleanliness and purity. Whereas the rain was associated with sin.But not just the origin of the bird was of significance, even more important was the main attribute of the parrot. The fact that it could speak like humans linked it directly to the prefiguration of the word of christ. Additionally, there are other connections to the virgin mary, because of the sound of the parrot, which was interpretated as the Christian exclamation "Ave".The iconography of hawks is situated in a more courtly context, because of the association with falconry and the usage as a hunting companion. The hawk is in close contact with its master and was especially among nobleperson a symbole of prestige. Mastering the art of falconry and participating in hunting activities hierarchised and secured social positions at court. Therefore, the hawk symbolised regal power and royalty. In connection with the provenance of the cope, Friedrich II. book De arte venandi cum avibus, which was published 1248 in Sicily, could shed some light on a possible identification of the birds.HoodThe hood is what characterizes a cope as such. The term comes from the fact that originally it would have been a hood, however its shape changed overtime into a more simplified one, resembling an upside-down triangle. Since the Piviale dei pappagalli was not originally a religious mantel, but a lay one, it did not have a hood, therefore one had to be made at a later time.The hood of the Piviale dei pappagalli is the result of a textile stratification, starting from the central piece with figures of saints, which is almost certainly an element of reuse. The blue band with the inscriptions of the names of the saints and the piece with the coat of arms are a later addition. Everything is surrounded by a gold band, which dates back to the 18th century, and by red damascus from the end of the 18th and beginning of the 19th centuries. The central part of the hood depicts three figures of Saints, two angels and natural details. The figure on the left is Saint Dominic, his presence is justified by the fact that the Church of Santa Corona is a Dominican one.On the right there is Saint Denis, as suggested by the inscription (“S. Dionisi”), it is however more plausible that the saint depicted is not the first bishop of Paris but instead Saint Dionysius the Areopagite or Pseudo Dionysius, since Bartolomeo da Breganze was the author of the De Venatione divinis amoris, a commentary of the texts of Dionysius the Areopagite. The reference to this specific saint can be seen as an homage to the legendary receiver of the Piviale dei pappagalli from Louis IX.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: In Piviale dei Pappagalli, how is the Description discussed?

Technique and MaterialsThe Parrot Cope is made of red samite (from the Greek έξαμιτόι ), a high quality and cost-effective material, derived from the union of six threads that make up the weave. To create a fabric of this size, an ad hoc tension loom would have been used, making the process even more expensive. The shamito technique was typically oriental but is also documented in Palermo in the 12th and 13th centuries.The yarn is made with the laid gold technique, which uses threads with a yellow silk core wrapped in a thin gilded silver foil, and polychrome threads corresponding to the parrots' tails.The dye used is called chermes (or kermes), and is obtained by drying the carapace of Coccus Ilicis. Another type of dye, which has emerged in recent restorations, is madder (Rubia Tinctorum), a less expensive red dye; in the case of the Parrot Cope madder was used to dye the warp, which remains hidden under the weft and, although madder was a less expensive dye than chermes, it was still quite luxurious. The particularity of this use of madder further testifies to the richness of the Vicenza cope.In the Middle Ages the purple color of the cloak would have been associated with the royal origin of the fabric and at the same time with the blood of Christ and consequently the Passion.Uses and meaningFrom the sources it is possible to understand that the parrot cope could also be worn by lay people, as suggested by Eustachio of Bologna, Prior of the preaching fathers of Vicenza, in a letter to Giambattista Marini:«The aforementioned cope made from the mantle of St. Lodovico is to be kept in a locked sacristy, which is kept in a safe and is only carried by superiors and great lords.» (Letter from Eustachio da Bologna to Giambattista Marini, 28 July 1663)From this letter we can deduce the importance given to the cope starting from the seventeenth century, and it was worn in the most important ceremonies although it was considered a contact relic. In 1692 it was decided to burn most of the liturgical vestments present in the Church of Santa Corona in order to obtain gold but the Parrot Cope was explicitly excluded from this practice.«Ab hac tamen combustion exceperunt omnino pluviale quod ex traditione habetur confectum ex regal paludamento d. Ludovici Francorum regis et ab codem B. Bartolomeo de Bragantino dono traditum» (30 June 1692)IconographyThe Piviale dei Pappagalli depicts a series of birds. The pattern is geometrically repeated throughout the drapery and when draped over the wearer's shoulders the birds hold an equal position, so that the feets are on the same level. As the name of the cope suggests the depicted birds are mostly referred to as parrots. Nevertheless, other scholars suggested the possibility that the birds are hawks. When it comes to the iconography, parrots were a popular motif, between the 12th and 14th century. Especially in Sicily, where eastern influences where heavy thanks to the Crusades. A similar motif and with similar provenance shows the Piviale of Boniface which represents parrots and hawks as well.In the Christian world the parrot is believed to be a clean bird that disliked rain. This originated in the background of the parrot which according to the western world came from a mountain in India where it never rained. Due to that believe and the assumption that the parrot would loose its pure colours, when touched by rain, the parrot stood for cleanliness and purity. Whereas the rain was associated with sin.But not just the origin of the bird was of significance, even more important was the main attribute of the parrot. The fact that it could speak like humans linked it directly to the prefiguration of the word of christ. Additionally, there are other connections to the virgin mary, because of the sound of the parrot, which was interpretated as the Christian exclamation "Ave".The iconography of hawks is situated in a more courtly context, because of the association with falconry and the usage as a hunting companion. The hawk is in close contact with its master and was especially among nobleperson a symbole of prestige. Mastering the art of falconry and participating in hunting activities hierarchised and secured social positions at court. Therefore, the hawk symbolised regal power and royalty. In connection with the provenance of the cope, Friedrich II. book De arte venandi cum avibus, which was published 1248 in Sicily, could shed some light on a possible identification of the birds.HoodThe hood is what characterizes a cope as such. The term comes from the fact that originally it would have been a hood, however its shape changed overtime into a more simplified one, resembling an upside-down triangle. Since the Piviale dei pappagalli was not originally a religious mantel, but a lay one, it did not have a hood, therefore one had to be made at a later time.The hood of the Piviale dei pappagalli is the result of a textile stratification, starting from the central piece with figures of saints, which is almost certainly an element of reuse. The blue band with the inscriptions of the names of the saints and the piece with the coat of arms are a later addition. Everything is surrounded by a gold band, which dates back to the 18th century, and by red damascus from the end of the 18th and beginning of the 19th centuries. The central part of the hood depicts three figures of Saints, two angels and natural details. The figure on the left is Saint Dominic, his presence is justified by the fact that the Church of Santa Corona is a Dominican one.On the right there is Saint Denis, as suggested by the inscription (“S. Dionisi”), it is however more plausible that the saint depicted is not the first bishop of Paris but instead Saint Dionysius the Areopagite or Pseudo Dionysius, since Bartolomeo da Breganze was the author of the De Venatione divinis amoris, a commentary of the texts of Dionysius the Areopagite. The reference to this specific saint can be seen as an homage to the legendary receiver of the Piviale dei pappagalli from Louis IX.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: In the context of Piviale dei Pappagalli, explain the The coat of arms and the Description.

Traditionally the coat of arms in the hood of the Piviale dei pappagalli was believed to be the one of the Pigafetta family, however this is incorrect when the two coats of arms are confronted.It is more likely that that the coat of arms is to be linked to the figure of Alberto Fiocardo, canonic and archdeacon of the Cathedral of Vicenza, who built the Salvatore Chapel where he was buried in 1467.The coat of arms would be a brisure of the original coat of arms of the Fiocardo Family, which was blue with a golden band, three laurel crowns, three eight pointed stars and a “capriolo”. However, there are no documents that testify a link between Alberto Fiocardo and the Church of Santa Corona.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: Explain the The coat of arms about the Description of this artwork, Piviale dei Pappagalli.

Traditionally the coat of arms in the hood of the Piviale dei pappagalli was believed to be the one of the Pigafetta family, however this is incorrect when the two coats of arms are confronted.It is more likely that that the coat of arms is to be linked to the figure of Alberto Fiocardo, canonic and archdeacon of the Cathedral of Vicenza, who built the Salvatore Chapel where he was buried in 1467.The coat of arms would be a brisure of the original coat of arms of the Fiocardo Family, which was blue with a golden band, three laurel crowns, three eight pointed stars and a “capriolo”. However, there are no documents that testify a link between Alberto Fiocardo and the Church of Santa Corona.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: In Piviale dei Pappagalli, how is the The coat of arms of the Description explained?

Traditionally the coat of arms in the hood of the Piviale dei pappagalli was believed to be the one of the Pigafetta family, however this is incorrect when the two coats of arms are confronted.It is more likely that that the coat of arms is to be linked to the figure of Alberto Fiocardo, canonic and archdeacon of the Cathedral of Vicenza, who built the Salvatore Chapel where he was buried in 1467.The coat of arms would be a brisure of the original coat of arms of the Fiocardo Family, which was blue with a golden band, three laurel crowns, three eight pointed stars and a “capriolo”. However, there are no documents that testify a link between Alberto Fiocardo and the Church of Santa Corona.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


Piviale dei Pappagalli

Prompt: Describe the characteristics of the The coat of arms in Piviale dei Pappagalli's Description.

Traditionally the coat of arms in the hood of the Piviale dei pappagalli was believed to be the one of the Pigafetta family, however this is incorrect when the two coats of arms are confronted.It is more likely that that the coat of arms is to be linked to the figure of Alberto Fiocardo, canonic and archdeacon of the Cathedral of Vicenza, who built the Salvatore Chapel where he was buried in 1467.The coat of arms would be a brisure of the original coat of arms of the Fiocardo Family, which was blue with a golden band, three laurel crowns, three eight pointed stars and a “capriolo”. However, there are no documents that testify a link between Alberto Fiocardo and the Church of Santa Corona.

Fragment found by Mons. Francesco Gasperini

Detail of the Coat of Arms of the Piviale dei Pappagalli


The Vortices of Wrath (Lebanon 1977)

Prompt: Focus on The Vortices of Wrath (Lebanon 1977) and explain the abstract.

The Vortices of Wrath (Lebanon 1977) is a triptych painted by Nabil Kanso in 1977. It is part of the Lebanon series began in 1975 in response to the Lebanese Civil War. The triptych is done in oil on canvas measuring 3×7.60 meters (10×25 feet). The center is 3×3 meters (10×10 feet) and each side 2.75×2.30 meters (9×7.5 feet).

Category:Works about the Lebanese Civil War


The Vortices of Wrath (Lebanon 1977)

Prompt: Explain the abstract of this artwork, The Vortices of Wrath (Lebanon 1977).

The Vortices of Wrath (Lebanon 1977) is a triptych painted by Nabil Kanso in 1977. It is part of the Lebanon series began in 1975 in response to the Lebanese Civil War. The triptych is done in oil on canvas measuring 3×7.60 meters (10×25 feet). The center is 3×3 meters (10×10 feet) and each side 2.75×2.30 meters (9×7.5 feet).

Category:Works about the Lebanese Civil War


The Vortices of Wrath (Lebanon 1977)

Prompt: How does The Vortices of Wrath (Lebanon 1977) explain its abstract?

The Vortices of Wrath (Lebanon 1977) is a triptych painted by Nabil Kanso in 1977. It is part of the Lebanon series began in 1975 in response to the Lebanese Civil War. The triptych is done in oil on canvas measuring 3×7.60 meters (10×25 feet). The center is 3×3 meters (10×10 feet) and each side 2.75×2.30 meters (9×7.5 feet).

Category:Works about the Lebanese Civil War


The Vortices of Wrath (Lebanon 1977)

Prompt: In The Vortices of Wrath (Lebanon 1977), how is the abstract discussed?

The Vortices of Wrath (Lebanon 1977) is a triptych painted by Nabil Kanso in 1977. It is part of the Lebanon series began in 1975 in response to the Lebanese Civil War. The triptych is done in oil on canvas measuring 3×7.60 meters (10×25 feet). The center is 3×3 meters (10×10 feet) and each side 2.75×2.30 meters (9×7.5 feet).

Category:Works about the Lebanese Civil War


The Vortices of Wrath (Lebanon 1977)

Prompt: Focus on The Vortices of Wrath (Lebanon 1977) and explain the Description.

The triptych reflects aggressive use of brushstrokes and intense rendering of relationships of color, form and structure in conveying the atmosphere and mood of the subject matter.  Menacing and terrified figures seem to “burst out of the canvas to reveal the inner realities of war”.The central painting focuses a goddess-like figure with multiple sets of arms and legs suspended in chains and barbed wire. Thick black lines dominate Kanso's work and the presence of chains and barbed wire are common as well. The goddess figure is pulled apart by demons who appear hungry and bloodthirsty. These villainous figures resemble zombies, but not like Russo and Romero's portrayal in their 1990 film Night of the Living Dead where a mindless force compels corpses to feed like mindless puppets.  Rather, these zombies appear malicious and precise with their tortures. It is suggested by some art critics that the depicted woman "personifies Lebanon being torn apart from all directions by the forces of terror". She is turned upside down and surrounded by chaotic mess of menacing figures, barbs, chains, and specters of death extending their devastation to the entire space of the canvas. At the bottom of the central panel, a figure with outreached arms envelopes the entire scene, as if to embrace all of the players in light.The left panels depicts two skeletons with long spines made of the redundant thick black lines, framing the section. They laugh, mockingly. An infant's head, wailing in sadness, serves as a backdrop, constantly reminding us of the loss of Lebanon's youth. A demonic figure reminiscent of St. Michael the Archangel floats above the victim, stabbing it with a long spear. The victim mirrors his assailant, yellow, gaunt, and sporting an identical weapon. Below the jaundiced loser of the battle is a child, weeping and shielding itself from the vision. In one sense of the scene, we witness brother fighting against brother. They could be twins. But the resemblance of the Christian Church represented more likely refers to the Shatila Massacre.The concept of travesties committed against families as their homes were razed (and experience Kanso understood first-hand) is analyzed in the right-hand panel. The hope for the future of a war-torn country is devoured in the form of a central figure dangling an infant and a child above a ritualistic circle of flames and dancing bodies. The victims serve as sacrificial lambs to the causes of each side of the war when we see a demon eating more children in the bottom left corner. There is form of a weeping mother presiding over the disconcerting scene. Across from the maternal figure, Kanso depicts a forest in rare form, using green. The artist rarely used the verdant color which makes the timberland rather significant. It implicates the alarming impact that the fires and bombs had on the delicate environment of Lebanon.

Category:Works about the Lebanese Civil War


The Vortices of Wrath (Lebanon 1977)

Prompt: Explain the Description of this artwork, The Vortices of Wrath (Lebanon 1977).

The triptych reflects aggressive use of brushstrokes and intense rendering of relationships of color, form and structure in conveying the atmosphere and mood of the subject matter.  Menacing and terrified figures seem to “burst out of the canvas to reveal the inner realities of war”.The central painting focuses a goddess-like figure with multiple sets of arms and legs suspended in chains and barbed wire. Thick black lines dominate Kanso's work and the presence of chains and barbed wire are common as well. The goddess figure is pulled apart by demons who appear hungry and bloodthirsty. These villainous figures resemble zombies, but not like Russo and Romero's portrayal in their 1990 film Night of the Living Dead where a mindless force compels corpses to feed like mindless puppets.  Rather, these zombies appear malicious and precise with their tortures. It is suggested by some art critics that the depicted woman "personifies Lebanon being torn apart from all directions by the forces of terror". She is turned upside down and surrounded by chaotic mess of menacing figures, barbs, chains, and specters of death extending their devastation to the entire space of the canvas. At the bottom of the central panel, a figure with outreached arms envelopes the entire scene, as if to embrace all of the players in light.The left panels depicts two skeletons with long spines made of the redundant thick black lines, framing the section. They laugh, mockingly. An infant's head, wailing in sadness, serves as a backdrop, constantly reminding us of the loss of Lebanon's youth. A demonic figure reminiscent of St. Michael the Archangel floats above the victim, stabbing it with a long spear. The victim mirrors his assailant, yellow, gaunt, and sporting an identical weapon. Below the jaundiced loser of the battle is a child, weeping and shielding itself from the vision. In one sense of the scene, we witness brother fighting against brother. They could be twins. But the resemblance of the Christian Church represented more likely refers to the Shatila Massacre.The concept of travesties committed against families as their homes were razed (and experience Kanso understood first-hand) is analyzed in the right-hand panel. The hope for the future of a war-torn country is devoured in the form of a central figure dangling an infant and a child above a ritualistic circle of flames and dancing bodies. The victims serve as sacrificial lambs to the causes of each side of the war when we see a demon eating more children in the bottom left corner. There is form of a weeping mother presiding over the disconcerting scene. Across from the maternal figure, Kanso depicts a forest in rare form, using green. The artist rarely used the verdant color which makes the timberland rather significant. It implicates the alarming impact that the fires and bombs had on the delicate environment of Lebanon.

Category:Works about the Lebanese Civil War


The Vortices of Wrath (Lebanon 1977)

Prompt: How does The Vortices of Wrath (Lebanon 1977) explain its Description?

The triptych reflects aggressive use of brushstrokes and intense rendering of relationships of color, form and structure in conveying the atmosphere and mood of the subject matter.  Menacing and terrified figures seem to “burst out of the canvas to reveal the inner realities of war”.The central painting focuses a goddess-like figure with multiple sets of arms and legs suspended in chains and barbed wire. Thick black lines dominate Kanso's work and the presence of chains and barbed wire are common as well. The goddess figure is pulled apart by demons who appear hungry and bloodthirsty. These villainous figures resemble zombies, but not like Russo and Romero's portrayal in their 1990 film Night of the Living Dead where a mindless force compels corpses to feed like mindless puppets.  Rather, these zombies appear malicious and precise with their tortures. It is suggested by some art critics that the depicted woman "personifies Lebanon being torn apart from all directions by the forces of terror". She is turned upside down and surrounded by chaotic mess of menacing figures, barbs, chains, and specters of death extending their devastation to the entire space of the canvas. At the bottom of the central panel, a figure with outreached arms envelopes the entire scene, as if to embrace all of the players in light.The left panels depicts two skeletons with long spines made of the redundant thick black lines, framing the section. They laugh, mockingly. An infant's head, wailing in sadness, serves as a backdrop, constantly reminding us of the loss of Lebanon's youth. A demonic figure reminiscent of St. Michael the Archangel floats above the victim, stabbing it with a long spear. The victim mirrors his assailant, yellow, gaunt, and sporting an identical weapon. Below the jaundiced loser of the battle is a child, weeping and shielding itself from the vision. In one sense of the scene, we witness brother fighting against brother. They could be twins. But the resemblance of the Christian Church represented more likely refers to the Shatila Massacre.The concept of travesties committed against families as their homes were razed (and experience Kanso understood first-hand) is analyzed in the right-hand panel. The hope for the future of a war-torn country is devoured in the form of a central figure dangling an infant and a child above a ritualistic circle of flames and dancing bodies. The victims serve as sacrificial lambs to the causes of each side of the war when we see a demon eating more children in the bottom left corner. There is form of a weeping mother presiding over the disconcerting scene. Across from the maternal figure, Kanso depicts a forest in rare form, using green. The artist rarely used the verdant color which makes the timberland rather significant. It implicates the alarming impact that the fires and bombs had on the delicate environment of Lebanon.

Category:Works about the Lebanese Civil War


The Vortices of Wrath (Lebanon 1977)

Prompt: In The Vortices of Wrath (Lebanon 1977), how is the Description discussed?

The triptych reflects aggressive use of brushstrokes and intense rendering of relationships of color, form and structure in conveying the atmosphere and mood of the subject matter.  Menacing and terrified figures seem to “burst out of the canvas to reveal the inner realities of war”.The central painting focuses a goddess-like figure with multiple sets of arms and legs suspended in chains and barbed wire. Thick black lines dominate Kanso's work and the presence of chains and barbed wire are common as well. The goddess figure is pulled apart by demons who appear hungry and bloodthirsty. These villainous figures resemble zombies, but not like Russo and Romero's portrayal in their 1990 film Night of the Living Dead where a mindless force compels corpses to feed like mindless puppets.  Rather, these zombies appear malicious and precise with their tortures. It is suggested by some art critics that the depicted woman "personifies Lebanon being torn apart from all directions by the forces of terror". She is turned upside down and surrounded by chaotic mess of menacing figures, barbs, chains, and specters of death extending their devastation to the entire space of the canvas. At the bottom of the central panel, a figure with outreached arms envelopes the entire scene, as if to embrace all of the players in light.The left panels depicts two skeletons with long spines made of the redundant thick black lines, framing the section. They laugh, mockingly. An infant's head, wailing in sadness, serves as a backdrop, constantly reminding us of the loss of Lebanon's youth. A demonic figure reminiscent of St. Michael the Archangel floats above the victim, stabbing it with a long spear. The victim mirrors his assailant, yellow, gaunt, and sporting an identical weapon. Below the jaundiced loser of the battle is a child, weeping and shielding itself from the vision. In one sense of the scene, we witness brother fighting against brother. They could be twins. But the resemblance of the Christian Church represented more likely refers to the Shatila Massacre.The concept of travesties committed against families as their homes were razed (and experience Kanso understood first-hand) is analyzed in the right-hand panel. The hope for the future of a war-torn country is devoured in the form of a central figure dangling an infant and a child above a ritualistic circle of flames and dancing bodies. The victims serve as sacrificial lambs to the causes of each side of the war when we see a demon eating more children in the bottom left corner. There is form of a weeping mother presiding over the disconcerting scene. Across from the maternal figure, Kanso depicts a forest in rare form, using green. The artist rarely used the verdant color which makes the timberland rather significant. It implicates the alarming impact that the fires and bombs had on the delicate environment of Lebanon.

Category:Works about the Lebanese Civil War


Personnages Oiseaux

Prompt: Focus on Personnages Oiseaux and explain the abstract.

Personnages Oiseaux (English: Bird People) is one of Joan Miró's largest works in the United States and his only glass mosaic mural. It was created between 1972 and 1978.

mural
Category:Wichita State University
Category:American mosaics
Category:Murals in Kansas
Ulrich Museum
Chartres
France
Wichita, Kansas
Category:Surrealist works
Wichita State University
Category:Birds in art
North America
Joan Miró
tesserae
Mural
Majorca
Palma
Category:1978 in art
Mallorca
Spain
Edwin A. Ulrich Museum of Art
maquette
Category:Joan Miró
Palma, Majorca
Category:1978 works
Wichita
mosaic
façade


Personnages Oiseaux

Prompt: Explain the abstract of this artwork, Personnages Oiseaux.

Personnages Oiseaux (English: Bird People) is one of Joan Miró's largest works in the United States and his only glass mosaic mural. It was created between 1972 and 1978.

mural
Category:Wichita State University
Category:American mosaics
Category:Murals in Kansas
Ulrich Museum
Chartres
France
Wichita, Kansas
Category:Surrealist works
Wichita State University
Category:Birds in art
North America
Joan Miró
tesserae
Mural
Majorca
Palma
Category:1978 in art
Mallorca
Spain
Edwin A. Ulrich Museum of Art
maquette
Category:Joan Miró
Palma, Majorca
Category:1978 works
Wichita
mosaic
façade


Personnages Oiseaux

Prompt: How does Personnages Oiseaux explain its abstract?

Personnages Oiseaux (English: Bird People) is one of Joan Miró's largest works in the United States and his only glass mosaic mural. It was created between 1972 and 1978.

mural
Category:Wichita State University
Category:American mosaics
Category:Murals in Kansas
Ulrich Museum
Chartres
France
Wichita, Kansas
Category:Surrealist works
Wichita State University
Category:Birds in art
North America
Joan Miró
tesserae
Mural
Majorca
Palma
Category:1978 in art
Mallorca
Spain
Edwin A. Ulrich Museum of Art
maquette
Category:Joan Miró
Palma, Majorca
Category:1978 works
Wichita
mosaic
façade


Personnages Oiseaux

Prompt: In Personnages Oiseaux, how is the abstract discussed?

Personnages Oiseaux (English: Bird People) is one of Joan Miró's largest works in the United States and his only glass mosaic mural. It was created between 1972 and 1978.

mural
Category:Wichita State University
Category:American mosaics
Category:Murals in Kansas
Ulrich Museum
Chartres
France
Wichita, Kansas
Category:Surrealist works
Wichita State University
Category:Birds in art
North America
Joan Miró
tesserae
Mural
Majorca
Palma
Category:1978 in art
Mallorca
Spain
Edwin A. Ulrich Museum of Art
maquette
Category:Joan Miró
Palma, Majorca
Category:1978 works
Wichita
mosaic
façade


Personnages Oiseaux

Prompt: Focus on Personnages Oiseaux and explain the Description.

Miró created it for Wichita State University's Edwin A. Ulrich Museum of Art, in Wichita, Kansas. The mural is one of Miró's largest two-dimensional projects, undertaken when he was 79 and completed when he was 85 years of age. Fabrication of the mural was completed in 1977, but Miró did not consider it finished until the installation was complete.The glass mosaic was a first for Miró, and although he hoped to create others, he died before achieving this goal. Intending to come to the dedication of the mural in 1978, he fell at his studio in Palma (Majorca, Spain), and was unable to travel to the event.The entire south wall of the Ulrich Museum is the foundation for the 28 ft by 52 ft (8.53 m x 15.85 m) mural, composed of one million pieces of marble and Venetian glass mounted on specially treated wood, attached to the concrete wall on an aluminum grid. The work was a gift of the artist. Donor groups paid for its fabrication by Ateliers Loire of Chartres, France and for its installation. The Ulrich Museum also acquired the 5 ½ ft by 12 ft (1.7 m x 3.7 m ) oil on canvas maquette for the mural, but it has since been sold to establish a fund to support the museum's acquisitions and any repairs needed to the mural. The entire mural was originally assembled by an artisan at Ateliers Loire using Miró's maquette as a guide.Fabricated under Miró's personal direction and completed in 1977, the 80 panels comprising the mural were shipped to WSU, and the mural was installed on the Ulrich Museum's façade in 1978. The mural is a unique late work in the artist's career: one of Miró's largest two-dimensional works in North America and his only one in this medium.

mural
Category:Wichita State University
Category:American mosaics
Category:Murals in Kansas
Ulrich Museum
Chartres
France
Wichita, Kansas
Category:Surrealist works
Wichita State University
Category:Birds in art
North America
Joan Miró
tesserae
Mural
Majorca
Palma
Category:1978 in art
Mallorca
Spain
Edwin A. Ulrich Museum of Art
maquette
Category:Joan Miró
Palma, Majorca
Category:1978 works
Wichita
mosaic
façade


Personnages Oiseaux

Prompt: Explain the Description of this artwork, Personnages Oiseaux.

Miró created it for Wichita State University's Edwin A. Ulrich Museum of Art, in Wichita, Kansas. The mural is one of Miró's largest two-dimensional projects, undertaken when he was 79 and completed when he was 85 years of age. Fabrication of the mural was completed in 1977, but Miró did not consider it finished until the installation was complete.The glass mosaic was a first for Miró, and although he hoped to create others, he died before achieving this goal. Intending to come to the dedication of the mural in 1978, he fell at his studio in Palma (Majorca, Spain), and was unable to travel to the event.The entire south wall of the Ulrich Museum is the foundation for the 28 ft by 52 ft (8.53 m x 15.85 m) mural, composed of one million pieces of marble and Venetian glass mounted on specially treated wood, attached to the concrete wall on an aluminum grid. The work was a gift of the artist. Donor groups paid for its fabrication by Ateliers Loire of Chartres, France and for its installation. The Ulrich Museum also acquired the 5 ½ ft by 12 ft (1.7 m x 3.7 m ) oil on canvas maquette for the mural, but it has since been sold to establish a fund to support the museum's acquisitions and any repairs needed to the mural. The entire mural was originally assembled by an artisan at Ateliers Loire using Miró's maquette as a guide.Fabricated under Miró's personal direction and completed in 1977, the 80 panels comprising the mural were shipped to WSU, and the mural was installed on the Ulrich Museum's façade in 1978. The mural is a unique late work in the artist's career: one of Miró's largest two-dimensional works in North America and his only one in this medium.

mural
Category:Wichita State University
Category:American mosaics
Category:Murals in Kansas
Ulrich Museum
Chartres
France
Wichita, Kansas
Category:Surrealist works
Wichita State University
Category:Birds in art
North America
Joan Miró
tesserae
Mural
Majorca
Palma
Category:1978 in art
Mallorca
Spain
Edwin A. Ulrich Museum of Art
maquette
Category:Joan Miró
Palma, Majorca
Category:1978 works
Wichita
mosaic
façade


Personnages Oiseaux

Prompt: How does Personnages Oiseaux explain its Description?

Miró created it for Wichita State University's Edwin A. Ulrich Museum of Art, in Wichita, Kansas. The mural is one of Miró's largest two-dimensional projects, undertaken when he was 79 and completed when he was 85 years of age. Fabrication of the mural was completed in 1977, but Miró did not consider it finished until the installation was complete.The glass mosaic was a first for Miró, and although he hoped to create others, he died before achieving this goal. Intending to come to the dedication of the mural in 1978, he fell at his studio in Palma (Majorca, Spain), and was unable to travel to the event.The entire south wall of the Ulrich Museum is the foundation for the 28 ft by 52 ft (8.53 m x 15.85 m) mural, composed of one million pieces of marble and Venetian glass mounted on specially treated wood, attached to the concrete wall on an aluminum grid. The work was a gift of the artist. Donor groups paid for its fabrication by Ateliers Loire of Chartres, France and for its installation. The Ulrich Museum also acquired the 5 ½ ft by 12 ft (1.7 m x 3.7 m ) oil on canvas maquette for the mural, but it has since been sold to establish a fund to support the museum's acquisitions and any repairs needed to the mural. The entire mural was originally assembled by an artisan at Ateliers Loire using Miró's maquette as a guide.Fabricated under Miró's personal direction and completed in 1977, the 80 panels comprising the mural were shipped to WSU, and the mural was installed on the Ulrich Museum's façade in 1978. The mural is a unique late work in the artist's career: one of Miró's largest two-dimensional works in North America and his only one in this medium.

mural
Category:Wichita State University
Category:American mosaics
Category:Murals in Kansas
Ulrich Museum
Chartres
France
Wichita, Kansas
Category:Surrealist works
Wichita State University
Category:Birds in art
North America
Joan Miró
tesserae
Mural
Majorca
Palma
Category:1978 in art
Mallorca
Spain
Edwin A. Ulrich Museum of Art
maquette
Category:Joan Miró
Palma, Majorca
Category:1978 works
Wichita
mosaic
façade


Personnages Oiseaux

Prompt: In Personnages Oiseaux, how is the Description discussed?

Miró created it for Wichita State University's Edwin A. Ulrich Museum of Art, in Wichita, Kansas. The mural is one of Miró's largest two-dimensional projects, undertaken when he was 79 and completed when he was 85 years of age. Fabrication of the mural was completed in 1977, but Miró did not consider it finished until the installation was complete.The glass mosaic was a first for Miró, and although he hoped to create others, he died before achieving this goal. Intending to come to the dedication of the mural in 1978, he fell at his studio in Palma (Majorca, Spain), and was unable to travel to the event.The entire south wall of the Ulrich Museum is the foundation for the 28 ft by 52 ft (8.53 m x 15.85 m) mural, composed of one million pieces of marble and Venetian glass mounted on specially treated wood, attached to the concrete wall on an aluminum grid. The work was a gift of the artist. Donor groups paid for its fabrication by Ateliers Loire of Chartres, France and for its installation. The Ulrich Museum also acquired the 5 ½ ft by 12 ft (1.7 m x 3.7 m ) oil on canvas maquette for the mural, but it has since been sold to establish a fund to support the museum's acquisitions and any repairs needed to the mural. The entire mural was originally assembled by an artisan at Ateliers Loire using Miró's maquette as a guide.Fabricated under Miró's personal direction and completed in 1977, the 80 panels comprising the mural were shipped to WSU, and the mural was installed on the Ulrich Museum's façade in 1978. The mural is a unique late work in the artist's career: one of Miró's largest two-dimensional works in North America and his only one in this medium.

mural
Category:Wichita State University
Category:American mosaics
Category:Murals in Kansas
Ulrich Museum
Chartres
France
Wichita, Kansas
Category:Surrealist works
Wichita State University
Category:Birds in art
North America
Joan Miró
tesserae
Mural
Majorca
Palma
Category:1978 in art
Mallorca
Spain
Edwin A. Ulrich Museum of Art
maquette
Category:Joan Miró
Palma, Majorca
Category:1978 works
Wichita
mosaic
façade


Personnages Oiseaux

Prompt: Focus on Personnages Oiseaux and explain the A six year conservation.

In 2011 it was announced that the mural would be taken down. The mural, which had been losing tesserae, was the subject of a two-year study to work out how it could be conserved. The mural is to be taken apart and recreated with a stainless steel backing. The conservation was estimated to cost three million dollars. The mural was reinstalled at the Ulrich Museum of Art in 2016.

mural
Category:Wichita State University
Category:American mosaics
Category:Murals in Kansas
Ulrich Museum
Chartres
France
Wichita, Kansas
Category:Surrealist works
Wichita State University
Category:Birds in art
North America
Joan Miró
tesserae
Mural
Majorca
Palma
Category:1978 in art
Mallorca
Spain
Edwin A. Ulrich Museum of Art
maquette
Category:Joan Miró
Palma, Majorca
Category:1978 works
Wichita
mosaic
façade


Personnages Oiseaux

Prompt: Explain the A six year conservation of this artwork, Personnages Oiseaux.

In 2011 it was announced that the mural would be taken down. The mural, which had been losing tesserae, was the subject of a two-year study to work out how it could be conserved. The mural is to be taken apart and recreated with a stainless steel backing. The conservation was estimated to cost three million dollars. The mural was reinstalled at the Ulrich Museum of Art in 2016.

mural
Category:Wichita State University
Category:American mosaics
Category:Murals in Kansas
Ulrich Museum
Chartres
France
Wichita, Kansas
Category:Surrealist works
Wichita State University
Category:Birds in art
North America
Joan Miró
tesserae
Mural
Majorca
Palma
Category:1978 in art
Mallorca
Spain
Edwin A. Ulrich Museum of Art
maquette
Category:Joan Miró
Palma, Majorca
Category:1978 works
Wichita
mosaic
façade


Personnages Oiseaux

Prompt: How does Personnages Oiseaux explain its A six year conservation?

In 2011 it was announced that the mural would be taken down. The mural, which had been losing tesserae, was the subject of a two-year study to work out how it could be conserved. The mural is to be taken apart and recreated with a stainless steel backing. The conservation was estimated to cost three million dollars. The mural was reinstalled at the Ulrich Museum of Art in 2016.

mural
Category:Wichita State University
Category:American mosaics
Category:Murals in Kansas
Ulrich Museum
Chartres
France
Wichita, Kansas
Category:Surrealist works
Wichita State University
Category:Birds in art
North America
Joan Miró
tesserae
Mural
Majorca
Palma
Category:1978 in art
Mallorca
Spain
Edwin A. Ulrich Museum of Art
maquette
Category:Joan Miró
Palma, Majorca
Category:1978 works
Wichita
mosaic
façade


Personnages Oiseaux

Prompt: In Personnages Oiseaux, how is the A six year conservation discussed?

In 2011 it was announced that the mural would be taken down. The mural, which had been losing tesserae, was the subject of a two-year study to work out how it could be conserved. The mural is to be taken apart and recreated with a stainless steel backing. The conservation was estimated to cost three million dollars. The mural was reinstalled at the Ulrich Museum of Art in 2016.

mural
Category:Wichita State University
Category:American mosaics
Category:Murals in Kansas
Ulrich Museum
Chartres
France
Wichita, Kansas
Category:Surrealist works
Wichita State University
Category:Birds in art
North America
Joan Miró
tesserae
Mural
Majorca
Palma
Category:1978 in art
Mallorca
Spain
Edwin A. Ulrich Museum of Art
maquette
Category:Joan Miró
Palma, Majorca
Category:1978 works
Wichita
mosaic
façade


George Rogers Clark Monument

Prompt: Focus on George Rogers Clark Monument and explain the abstract.

The George Rogers Clark Monument was a historic monument consisting of multiple figures that was formerly located in Monument Square at Charlottesville, Virginia. Erected in November 1921, the monument consisted of seven figures, by the sculptor Robert Ingersoll Aitken, presented on the same pedestal. It was the last in a sequence of four works commissioned from members of the National Sculpture Society by philanthropist Paul Goodloe McIntire during the years 1919 to 1924. The sculpture was added to the National Register of Historic Places in 1997.The monument measured approximately 24 feet in height, 20 feet in length, and 8 feet in width. It included a tall bronze figure of George Rogers Clark mounted on a stallion in the center. The pedestal bore the inscription: "GEORGE ROGERS CLARK/ CONQUEROR OF THE NORTHWEST". The monument was removed by the University of Virginia on July 11, 2021. No immediate plan for what would be done with it was announced, although the university said it would consult with its students and members of the American Indian community of Charlottesville when deciding what to do with it.

Category:1921 establishments in Virginia

List of monuments and memorials removed during the George Floyd protests

Robert E. Lee Monument (Charlottesville, Virginia)

Category:Buildings and structures in Charlottesville, Virginia

Meriwether Lewis and William Clark (sculpture)

Category:Anti-Indigenous racism in Virginia

Category:Sculptures of Native Americans in Virginia

Equestrian statue of Stonewall Jackson (Charlottesville, Virginia)

''Meriwether and William Clark Lewis'' (sculpture)

Category:National Register of Historic Places in Charlottesville, Virginia

Charlottesville historic monument controversy

Category:Outdoor sculptures in Charlottesville, Virginia

Category:Sculptures by Robert Ingersoll Aitken

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Monuments and memorials on the National Register of Historic Places in Virginia


George Rogers Clark Monument

Prompt: Explain the abstract of this artwork, George Rogers Clark Monument.

The George Rogers Clark Monument was a historic monument consisting of multiple figures that was formerly located in Monument Square at Charlottesville, Virginia. Erected in November 1921, the monument consisted of seven figures, by the sculptor Robert Ingersoll Aitken, presented on the same pedestal. It was the last in a sequence of four works commissioned from members of the National Sculpture Society by philanthropist Paul Goodloe McIntire during the years 1919 to 1924. The sculpture was added to the National Register of Historic Places in 1997.The monument measured approximately 24 feet in height, 20 feet in length, and 8 feet in width. It included a tall bronze figure of George Rogers Clark mounted on a stallion in the center. The pedestal bore the inscription: "GEORGE ROGERS CLARK/ CONQUEROR OF THE NORTHWEST". The monument was removed by the University of Virginia on July 11, 2021. No immediate plan for what would be done with it was announced, although the university said it would consult with its students and members of the American Indian community of Charlottesville when deciding what to do with it.

Category:1921 establishments in Virginia

List of monuments and memorials removed during the George Floyd protests

Robert E. Lee Monument (Charlottesville, Virginia)

Category:Buildings and structures in Charlottesville, Virginia

Meriwether Lewis and William Clark (sculpture)

Category:Anti-Indigenous racism in Virginia

Category:Sculptures of Native Americans in Virginia

Equestrian statue of Stonewall Jackson (Charlottesville, Virginia)

''Meriwether and William Clark Lewis'' (sculpture)

Category:National Register of Historic Places in Charlottesville, Virginia

Charlottesville historic monument controversy

Category:Outdoor sculptures in Charlottesville, Virginia

Category:Sculptures by Robert Ingersoll Aitken

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Monuments and memorials on the National Register of Historic Places in Virginia


George Rogers Clark Monument

Prompt: How does George Rogers Clark Monument explain its abstract?

The George Rogers Clark Monument was a historic monument consisting of multiple figures that was formerly located in Monument Square at Charlottesville, Virginia. Erected in November 1921, the monument consisted of seven figures, by the sculptor Robert Ingersoll Aitken, presented on the same pedestal. It was the last in a sequence of four works commissioned from members of the National Sculpture Society by philanthropist Paul Goodloe McIntire during the years 1919 to 1924. The sculpture was added to the National Register of Historic Places in 1997.The monument measured approximately 24 feet in height, 20 feet in length, and 8 feet in width. It included a tall bronze figure of George Rogers Clark mounted on a stallion in the center. The pedestal bore the inscription: "GEORGE ROGERS CLARK/ CONQUEROR OF THE NORTHWEST". The monument was removed by the University of Virginia on July 11, 2021. No immediate plan for what would be done with it was announced, although the university said it would consult with its students and members of the American Indian community of Charlottesville when deciding what to do with it.

Category:1921 establishments in Virginia

List of monuments and memorials removed during the George Floyd protests

Robert E. Lee Monument (Charlottesville, Virginia)

Category:Buildings and structures in Charlottesville, Virginia

Meriwether Lewis and William Clark (sculpture)

Category:Anti-Indigenous racism in Virginia

Category:Sculptures of Native Americans in Virginia

Equestrian statue of Stonewall Jackson (Charlottesville, Virginia)

''Meriwether and William Clark Lewis'' (sculpture)

Category:National Register of Historic Places in Charlottesville, Virginia

Charlottesville historic monument controversy

Category:Outdoor sculptures in Charlottesville, Virginia

Category:Sculptures by Robert Ingersoll Aitken

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Monuments and memorials on the National Register of Historic Places in Virginia


George Rogers Clark Monument

Prompt: In George Rogers Clark Monument, how is the abstract discussed?

The George Rogers Clark Monument was a historic monument consisting of multiple figures that was formerly located in Monument Square at Charlottesville, Virginia. Erected in November 1921, the monument consisted of seven figures, by the sculptor Robert Ingersoll Aitken, presented on the same pedestal. It was the last in a sequence of four works commissioned from members of the National Sculpture Society by philanthropist Paul Goodloe McIntire during the years 1919 to 1924. The sculpture was added to the National Register of Historic Places in 1997.The monument measured approximately 24 feet in height, 20 feet in length, and 8 feet in width. It included a tall bronze figure of George Rogers Clark mounted on a stallion in the center. The pedestal bore the inscription: "GEORGE ROGERS CLARK/ CONQUEROR OF THE NORTHWEST". The monument was removed by the University of Virginia on July 11, 2021. No immediate plan for what would be done with it was announced, although the university said it would consult with its students and members of the American Indian community of Charlottesville when deciding what to do with it.

Category:1921 establishments in Virginia

List of monuments and memorials removed during the George Floyd protests

Robert E. Lee Monument (Charlottesville, Virginia)

Category:Buildings and structures in Charlottesville, Virginia

Meriwether Lewis and William Clark (sculpture)

Category:Anti-Indigenous racism in Virginia

Category:Sculptures of Native Americans in Virginia

Equestrian statue of Stonewall Jackson (Charlottesville, Virginia)

''Meriwether and William Clark Lewis'' (sculpture)

Category:National Register of Historic Places in Charlottesville, Virginia

Charlottesville historic monument controversy

Category:Outdoor sculptures in Charlottesville, Virginia

Category:Sculptures by Robert Ingersoll Aitken

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Monuments and memorials on the National Register of Historic Places in Virginia


Prompt: Focus on Crown Hotel (Mona Lisa Black Background) and explain the abstract.

Crown Hotel (Mona Lisa Black Background) is a 1982 painting created by American artist Jean-Michel Basquiat in 1982. The artwork cites Leonardo da Vinci's Mona Lisa and Édouard Manet's Olympia, two canonical works of western art. In June 2013, it sold for $7.4 million at Sotheby's.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: Explain the abstract of this artwork, Crown Hotel (Mona Lisa Black Background).

Crown Hotel (Mona Lisa Black Background) is a 1982 painting created by American artist Jean-Michel Basquiat in 1982. The artwork cites Leonardo da Vinci's Mona Lisa and Édouard Manet's Olympia, two canonical works of western art. In June 2013, it sold for $7.4 million at Sotheby's.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: How does Crown Hotel (Mona Lisa Black Background) explain its abstract?

Crown Hotel (Mona Lisa Black Background) is a 1982 painting created by American artist Jean-Michel Basquiat in 1982. The artwork cites Leonardo da Vinci's Mona Lisa and Édouard Manet's Olympia, two canonical works of western art. In June 2013, it sold for $7.4 million at Sotheby's.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: In Crown Hotel (Mona Lisa Black Background), how is the abstract discussed?

Crown Hotel (Mona Lisa Black Background) is a 1982 painting created by American artist Jean-Michel Basquiat in 1982. The artwork cites Leonardo da Vinci's Mona Lisa and Édouard Manet's Olympia, two canonical works of western art. In June 2013, it sold for $7.4 million at Sotheby's.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: Focus on Crown Hotel (Mona Lisa Black Background) and explain the History.

The artwork was painted in 1982, which is considered Jean-Michel Basquiat's most valuable year. It was first shown by his art dealer Bruno Bischofberger, the Zurich gallery-owner. It was later shown at the Mary Boone Gallery in New York in 1999, and then it was acquired by Comtesse Viviane de Witt. Comtesse Viviane de Witt is married to Jerome de Witt—a descendant of Napoleon's brother Jerome, King of Westphalia. She became one of France's first female auctioneers in 1978. In 2013, Crown Hotel (Mona Lisa Black Background) sold for $7.4 million at Sotheby's sale of Contemporary Art in Paris and set a record price in France for a Basquiat artwork. Sotheby's said: "It is a powerful yet coherent work of tremendous depth and complexity—the most important Basquiat ever to appear at auction in France." In 2017, that record was surpassed by Jim Crow (1986), which sold for $17.7 million at Christie's in Paris.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: Explain the History of this artwork, Crown Hotel (Mona Lisa Black Background).

The artwork was painted in 1982, which is considered Jean-Michel Basquiat's most valuable year. It was first shown by his art dealer Bruno Bischofberger, the Zurich gallery-owner. It was later shown at the Mary Boone Gallery in New York in 1999, and then it was acquired by Comtesse Viviane de Witt. Comtesse Viviane de Witt is married to Jerome de Witt—a descendant of Napoleon's brother Jerome, King of Westphalia. She became one of France's first female auctioneers in 1978. In 2013, Crown Hotel (Mona Lisa Black Background) sold for $7.4 million at Sotheby's sale of Contemporary Art in Paris and set a record price in France for a Basquiat artwork. Sotheby's said: "It is a powerful yet coherent work of tremendous depth and complexity—the most important Basquiat ever to appear at auction in France." In 2017, that record was surpassed by Jim Crow (1986), which sold for $17.7 million at Christie's in Paris.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: How does Crown Hotel (Mona Lisa Black Background) explain its History?

The artwork was painted in 1982, which is considered Jean-Michel Basquiat's most valuable year. It was first shown by his art dealer Bruno Bischofberger, the Zurich gallery-owner. It was later shown at the Mary Boone Gallery in New York in 1999, and then it was acquired by Comtesse Viviane de Witt. Comtesse Viviane de Witt is married to Jerome de Witt—a descendant of Napoleon's brother Jerome, King of Westphalia. She became one of France's first female auctioneers in 1978. In 2013, Crown Hotel (Mona Lisa Black Background) sold for $7.4 million at Sotheby's sale of Contemporary Art in Paris and set a record price in France for a Basquiat artwork. Sotheby's said: "It is a powerful yet coherent work of tremendous depth and complexity—the most important Basquiat ever to appear at auction in France." In 2017, that record was surpassed by Jim Crow (1986), which sold for $17.7 million at Christie's in Paris.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: In Crown Hotel (Mona Lisa Black Background), how is the History discussed?

The artwork was painted in 1982, which is considered Jean-Michel Basquiat's most valuable year. It was first shown by his art dealer Bruno Bischofberger, the Zurich gallery-owner. It was later shown at the Mary Boone Gallery in New York in 1999, and then it was acquired by Comtesse Viviane de Witt. Comtesse Viviane de Witt is married to Jerome de Witt—a descendant of Napoleon's brother Jerome, King of Westphalia. She became one of France's first female auctioneers in 1978. In 2013, Crown Hotel (Mona Lisa Black Background) sold for $7.4 million at Sotheby's sale of Contemporary Art in Paris and set a record price in France for a Basquiat artwork. Sotheby's said: "It is a powerful yet coherent work of tremendous depth and complexity—the most important Basquiat ever to appear at auction in France." In 2017, that record was surpassed by Jim Crow (1986), which sold for $17.7 million at Christie's in Paris.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: Focus on Crown Hotel (Mona Lisa Black Background) and explain the Analysis.

Author Jana Evans Braziel describes Crown Hotel (Mona Lisa Black Background) as "a cacophonic visual screen onto which he casts his (and American culture's) anxieties about art, race, class, and commoditization." Basquiat studied the anatomical drawings of Leonardo da Vinci, who was his favorite artist. He references Leonardo's Mona Lisa in the painting with captions like "MONA LISA – SEVENTEEN PERCENT MONA LISA FOR FOOLS." Basquiat contrasts a black background with a centered frontal figure of a nude white woman surrounded by colorful texts and cartoon heads. The female figure may be a nod to Édouard Manet's Olympia. To the left of the figure, Basquiat directly references Manet's Olympia, a reoccurring subject tackled by Basquiat in his works during that period such as Three quarters of Olympia minus the Servant (1982) and Untitled (Detail of Maid from Olympia) (1982). Author Leonard Emmerling noted that "if a black woman is a rarity in European painting, it is all the more indicative of an underlying racism when one does appear, as Manet's work, merely as the servant of a naked, white-skinned beauty."Above the oval-framed word "OLYMPIA" is a golden crown. The three-pointed crown was Basquiat's signature artistic motif. Although the crown is a sign of royalty and honor, written below is the commodity value: "SIX AMERICAN DOLLARS." Given the title of the painting, Crown Hotel, "the price may be a nightly rate...Is this a hotel or gallery? Are the severed cartoon heads those of dealers? Or pimps?"

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: Explain the Analysis of this artwork, Crown Hotel (Mona Lisa Black Background).

Author Jana Evans Braziel describes Crown Hotel (Mona Lisa Black Background) as "a cacophonic visual screen onto which he casts his (and American culture's) anxieties about art, race, class, and commoditization." Basquiat studied the anatomical drawings of Leonardo da Vinci, who was his favorite artist. He references Leonardo's Mona Lisa in the painting with captions like "MONA LISA – SEVENTEEN PERCENT MONA LISA FOR FOOLS." Basquiat contrasts a black background with a centered frontal figure of a nude white woman surrounded by colorful texts and cartoon heads. The female figure may be a nod to Édouard Manet's Olympia. To the left of the figure, Basquiat directly references Manet's Olympia, a reoccurring subject tackled by Basquiat in his works during that period such as Three quarters of Olympia minus the Servant (1982) and Untitled (Detail of Maid from Olympia) (1982). Author Leonard Emmerling noted that "if a black woman is a rarity in European painting, it is all the more indicative of an underlying racism when one does appear, as Manet's work, merely as the servant of a naked, white-skinned beauty."Above the oval-framed word "OLYMPIA" is a golden crown. The three-pointed crown was Basquiat's signature artistic motif. Although the crown is a sign of royalty and honor, written below is the commodity value: "SIX AMERICAN DOLLARS." Given the title of the painting, Crown Hotel, "the price may be a nightly rate...Is this a hotel or gallery? Are the severed cartoon heads those of dealers? Or pimps?"

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: How does Crown Hotel (Mona Lisa Black Background) explain its Analysis?

Author Jana Evans Braziel describes Crown Hotel (Mona Lisa Black Background) as "a cacophonic visual screen onto which he casts his (and American culture's) anxieties about art, race, class, and commoditization." Basquiat studied the anatomical drawings of Leonardo da Vinci, who was his favorite artist. He references Leonardo's Mona Lisa in the painting with captions like "MONA LISA – SEVENTEEN PERCENT MONA LISA FOR FOOLS." Basquiat contrasts a black background with a centered frontal figure of a nude white woman surrounded by colorful texts and cartoon heads. The female figure may be a nod to Édouard Manet's Olympia. To the left of the figure, Basquiat directly references Manet's Olympia, a reoccurring subject tackled by Basquiat in his works during that period such as Three quarters of Olympia minus the Servant (1982) and Untitled (Detail of Maid from Olympia) (1982). Author Leonard Emmerling noted that "if a black woman is a rarity in European painting, it is all the more indicative of an underlying racism when one does appear, as Manet's work, merely as the servant of a naked, white-skinned beauty."Above the oval-framed word "OLYMPIA" is a golden crown. The three-pointed crown was Basquiat's signature artistic motif. Although the crown is a sign of royalty and honor, written below is the commodity value: "SIX AMERICAN DOLLARS." Given the title of the painting, Crown Hotel, "the price may be a nightly rate...Is this a hotel or gallery? Are the severed cartoon heads those of dealers? Or pimps?"

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: In Crown Hotel (Mona Lisa Black Background), how is the Analysis discussed?

Author Jana Evans Braziel describes Crown Hotel (Mona Lisa Black Background) as "a cacophonic visual screen onto which he casts his (and American culture's) anxieties about art, race, class, and commoditization." Basquiat studied the anatomical drawings of Leonardo da Vinci, who was his favorite artist. He references Leonardo's Mona Lisa in the painting with captions like "MONA LISA – SEVENTEEN PERCENT MONA LISA FOR FOOLS." Basquiat contrasts a black background with a centered frontal figure of a nude white woman surrounded by colorful texts and cartoon heads. The female figure may be a nod to Édouard Manet's Olympia. To the left of the figure, Basquiat directly references Manet's Olympia, a reoccurring subject tackled by Basquiat in his works during that period such as Three quarters of Olympia minus the Servant (1982) and Untitled (Detail of Maid from Olympia) (1982). Author Leonard Emmerling noted that "if a black woman is a rarity in European painting, it is all the more indicative of an underlying racism when one does appear, as Manet's work, merely as the servant of a naked, white-skinned beauty."Above the oval-framed word "OLYMPIA" is a golden crown. The three-pointed crown was Basquiat's signature artistic motif. Although the crown is a sign of royalty and honor, written below is the commodity value: "SIX AMERICAN DOLLARS." Given the title of the painting, Crown Hotel, "the price may be a nightly rate...Is this a hotel or gallery? Are the severed cartoon heads those of dealers? Or pimps?"

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: Focus on Crown Hotel (Mona Lisa Black Background) and explain the Exhibitions.

The painting has been exhibited at the following art institutions:Jean-Michel Basquiat at Galerie Bruno Bischofberger in Zurich, September 11–October 9, 1982.Jean-Michel Basquiat at FAE Musée d'Art Contemporain in Pully/Lausanne, July 10–November 7, 1993.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: Explain the Exhibitions of this artwork, Crown Hotel (Mona Lisa Black Background).

The painting has been exhibited at the following art institutions:Jean-Michel Basquiat at Galerie Bruno Bischofberger in Zurich, September 11–October 9, 1982.Jean-Michel Basquiat at FAE Musée d'Art Contemporain in Pully/Lausanne, July 10–November 7, 1993.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: How does Crown Hotel (Mona Lisa Black Background) explain its Exhibitions?

The painting has been exhibited at the following art institutions:Jean-Michel Basquiat at Galerie Bruno Bischofberger in Zurich, September 11–October 9, 1982.Jean-Michel Basquiat at FAE Musée d'Art Contemporain in Pully/Lausanne, July 10–November 7, 1993.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: In Crown Hotel (Mona Lisa Black Background), how is the Exhibitions discussed?

The painting has been exhibited at the following art institutions:Jean-Michel Basquiat at Galerie Bruno Bischofberger in Zurich, September 11–October 9, 1982.Jean-Michel Basquiat at FAE Musée d'Art Contemporain in Pully/Lausanne, July 10–November 7, 1993.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat


Prompt: Focus on Portrait of Georgiana, Duchess of Devonshire and explain the abstract.

Portrait of Georgiana, Duchess of Devonshire is a portrait painting by the English painter Thomas Gainsborough of the political hostess Georgiana Cavendish, Duchess of Devonshire. It was painted between 1785 and 1787.

Category:Portraits by Thomas Gainsborough

Andrew Cavendish, 11th Duke of Devonshire


Prompt: Explain the abstract of this artwork, Portrait of Georgiana, Duchess of Devonshire.

Portrait of Georgiana, Duchess of Devonshire is a portrait painting by the English painter Thomas Gainsborough of the political hostess Georgiana Cavendish, Duchess of Devonshire. It was painted between 1785 and 1787.

Category:Portraits by Thomas Gainsborough

Andrew Cavendish, 11th Duke of Devonshire


Prompt: How does Portrait of Georgiana, Duchess of Devonshire explain its abstract?

Portrait of Georgiana, Duchess of Devonshire is a portrait painting by the English painter Thomas Gainsborough of the political hostess Georgiana Cavendish, Duchess of Devonshire. It was painted between 1785 and 1787.

Category:Portraits by Thomas Gainsborough

Andrew Cavendish, 11th Duke of Devonshire


Prompt: In Portrait of Georgiana, Duchess of Devonshire, how is the abstract discussed?

Portrait of Georgiana, Duchess of Devonshire is a portrait painting by the English painter Thomas Gainsborough of the political hostess Georgiana Cavendish, Duchess of Devonshire. It was painted between 1785 and 1787.

Category:Portraits by Thomas Gainsborough

Andrew Cavendish, 11th Duke of Devonshire


Prompt: Focus on Portrait of Georgiana, Duchess of Devonshire and explain the Background.

During her years in the public eye, Georgiana Cavendish, Duchess of Devonshire was painted several times by both Thomas Gainsborough and Joshua Reynolds.Gainsborough's painting of her around 1785, in a large black hat (a style which she made fashionable, and came to be known as the 'Gainsborough' or 'portrait' hat), has become famous for its history. After having been lost from Chatsworth House for many years, it was discovered in the 1830s in the home of an elderly schoolmistress, who had cut it down somewhat in order to fit it over her fireplace. In 1841 she sold it to a picture dealer for £56, and he later gave it to a friend, the art collector Wynne Ellis. When Ellis died, the painting went for sale at Christie's in London in 1876, where it was bought by the Bond Street art dealer William Agnew for the then astronomical sum of 10,000 guineas, at the time the highest price ever paid for a painting at auction. Three weeks later it was stolen from the London gallery of Thomas Agnew & Sons, a theft that was highly publicised at the time, and for years the newspapers printed stories about claimed sightings of the painting.However, not until 25 years later did it become known that the thief had been the notorious "Napoleon of Crime", Adam Worth. He had intended to sell it to come up with the bail to release his brother from prison, but when his brother was freed without bail, he decided to keep it for himself, for "a rainy day", and brought it to his adopted homeland, the United States. In early 1901, through the American detective agency Pinkerton's, he negotiated a return of the painting to Agnew's son for $25,000. The portrait and payment were exchanged in Chicago in March 1901, and a couple of months later the painting arrived in London and was put up for sale. The Wall Street financier J. P. Morgan immediately travelled to England to obtain the painting and later claimed to have paid $150,000 for it.The painting remained in Morgan's family until 1994, when it was put up for sale at Sotheby's and was purchased by the 11th Duke of Devonshire for the Chatsworth House collection for $408,870.  After more than 200 years, the painting returned to Chatsworth.

Category:Portraits by Thomas Gainsborough

Andrew Cavendish, 11th Duke of Devonshire