Christ Leaving the Praetorium

Prompt: Explain the History of this artwork, Christ Leaving the Praetorium.

Doré was disappointed to be seen mostly as an illustrator by the French critics, who often disregarded his painting. However they were appreciated abroad, particularly in England, where he successfully exhibited in 1867. The following year, he accepted the proposal of two London publishers, the art dealers James Fairless and George Lord Beeforth, to open a gallery at 35 New Bond Street in London, entirely dedicated to the permanent display of his paintings: the Doré Gallery.The illustrations of his monumental Bible, published on December 1, 1865, to take advantage of Christmas sales, in all the capitals of Europe, gave him a reputation as religious painter. He created several more or less spectacular religious paintings that were intended for the Doré Gallery, which included this monumental Christ Leaving the Praetorium. He started working on it in 1867, and it would take him five years to complete it. The work was frequently interrupted by the making of several illustration works, and mostly by the siege of Paris at the French-Prussian War, and then the insurrection of the Paris Commune, during which he rolled up and buried his canvas. He only resumed his work on the painting in the beginning of 1872 and finished it in April.The painting was finally sent to London in May 1872. After Doré's death, in 1883, the painting was part of a long traveling exhibition of the Doré Gallery in the United States, starting in 1892. It began in Carnegie Hall, in New York City, and finished triumphantly in Chicago, in 1896. When the painting returned to London in 1898, after the death of the owners of the Doré Gallery, it was stored and forgotten.Rediscovered in the 1960s, it was acquired by Oscar Kline, owner of the Central Picture Gallery in New York, before entering the collection of George Encil in 1984, who placed it on deposit in Vienna in the Votivkirche. In 1988, it was bought by the Museum of Modern and Contemporary Art, in Strasbourg, thanks to the Regional Fund for the Acquisition of Museums, and finally returned to France. Since its restoration, this masterpiece by Gustave Doré is exhibited in a room to its measure, vast and very high, with some of his other paintings.The episode depicted in this work is original: it took place between two episodes of the Passion of Christ, often represented in religious iconography, the Presentation of Jesus to the crowd by Pontius Pilate, who let them choose between Him and Barrabas, and the Carrying of the Cross. According to one of his first biographers, his friend William Blanchard Jerrold, the fact that this particular episode had never been represented previously in painting was evoked during a meal at George Grove in Sydenham in the company of the Rev. Frederick Harford, canon of Westminster Abbey, in 1867.Doré immediately was set to work, and made numerous studies in black and white for the groups of figures, the head of Christ. He sometimes felt irritated at having to postpone it to work on his illustrations. When he traveled in London in the company of Blanchard Jerrold to prepare the illustrations for London: A Pilgrimage, the latter found him obsessed with his large painting, to the point of integrating certain London perspectives into it. This is how the view of the neoclassical St George's Church, in Hanover Square, with the statue of William Pitt the Younger, in the southern part of it, on a particularly gloomy morning, inspired him to create the colonnades of the temple on the right and the statue in the background at the center of the painting.Originally, the painting was "bathed in light" according to Blanchard Jerrold. But Frederick Harford, during a visit to Doré in 1870, when the painting was practically finished, felt disappointed: for him, " the sky should have been overcast; this dreadful morning should not have been sunny" , and the painter, understanding his criticism, begun to darken the top of the canvas, gradually bringing out "the awesome majesty of the Savior in the sadness of this sad morning". Shelved during the siege of Paris, the painting was not resumed and completed until after the end of the 1870 war. It was presented in Paris in April 1872, before leaving for London in May.

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

File:Gustave doré, cristo lascia il pretorio, 1874-1800.JPG

Category:Paintings in the Musée d'Arts de Nantes

Category:Paintings in the Strasbourg Museum of Modern and Contemporary Art

File:Le Christ quittant le prétoire-Gustave Doré (2).jpg

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

Prompt: How does Christ Leaving the Praetorium explain its History?

Doré was disappointed to be seen mostly as an illustrator by the French critics, who often disregarded his painting. However they were appreciated abroad, particularly in England, where he successfully exhibited in 1867. The following year, he accepted the proposal of two London publishers, the art dealers James Fairless and George Lord Beeforth, to open a gallery at 35 New Bond Street in London, entirely dedicated to the permanent display of his paintings: the Doré Gallery.The illustrations of his monumental Bible, published on December 1, 1865, to take advantage of Christmas sales, in all the capitals of Europe, gave him a reputation as religious painter. He created several more or less spectacular religious paintings that were intended for the Doré Gallery, which included this monumental Christ Leaving the Praetorium. He started working on it in 1867, and it would take him five years to complete it. The work was frequently interrupted by the making of several illustration works, and mostly by the siege of Paris at the French-Prussian War, and then the insurrection of the Paris Commune, during which he rolled up and buried his canvas. He only resumed his work on the painting in the beginning of 1872 and finished it in April.The painting was finally sent to London in May 1872. After Doré's death, in 1883, the painting was part of a long traveling exhibition of the Doré Gallery in the United States, starting in 1892. It began in Carnegie Hall, in New York City, and finished triumphantly in Chicago, in 1896. When the painting returned to London in 1898, after the death of the owners of the Doré Gallery, it was stored and forgotten.Rediscovered in the 1960s, it was acquired by Oscar Kline, owner of the Central Picture Gallery in New York, before entering the collection of George Encil in 1984, who placed it on deposit in Vienna in the Votivkirche. In 1988, it was bought by the Museum of Modern and Contemporary Art, in Strasbourg, thanks to the Regional Fund for the Acquisition of Museums, and finally returned to France. Since its restoration, this masterpiece by Gustave Doré is exhibited in a room to its measure, vast and very high, with some of his other paintings.The episode depicted in this work is original: it took place between two episodes of the Passion of Christ, often represented in religious iconography, the Presentation of Jesus to the crowd by Pontius Pilate, who let them choose between Him and Barrabas, and the Carrying of the Cross. According to one of his first biographers, his friend William Blanchard Jerrold, the fact that this particular episode had never been represented previously in painting was evoked during a meal at George Grove in Sydenham in the company of the Rev. Frederick Harford, canon of Westminster Abbey, in 1867.Doré immediately was set to work, and made numerous studies in black and white for the groups of figures, the head of Christ. He sometimes felt irritated at having to postpone it to work on his illustrations. When he traveled in London in the company of Blanchard Jerrold to prepare the illustrations for London: A Pilgrimage, the latter found him obsessed with his large painting, to the point of integrating certain London perspectives into it. This is how the view of the neoclassical St George's Church, in Hanover Square, with the statue of William Pitt the Younger, in the southern part of it, on a particularly gloomy morning, inspired him to create the colonnades of the temple on the right and the statue in the background at the center of the painting.Originally, the painting was "bathed in light" according to Blanchard Jerrold. But Frederick Harford, during a visit to Doré in 1870, when the painting was practically finished, felt disappointed: for him, " the sky should have been overcast; this dreadful morning should not have been sunny" , and the painter, understanding his criticism, begun to darken the top of the canvas, gradually bringing out "the awesome majesty of the Savior in the sadness of this sad morning". Shelved during the siege of Paris, the painting was not resumed and completed until after the end of the 1870 war. It was presented in Paris in April 1872, before leaving for London in May.

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

File:Gustave doré, cristo lascia il pretorio, 1874-1800.JPG

Category:Paintings in the Musée d'Arts de Nantes

Category:Paintings in the Strasbourg Museum of Modern and Contemporary Art

File:Le Christ quittant le prétoire-Gustave Doré (2).jpg

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

Prompt: In Christ Leaving the Praetorium, how is the History discussed?

Doré was disappointed to be seen mostly as an illustrator by the French critics, who often disregarded his painting. However they were appreciated abroad, particularly in England, where he successfully exhibited in 1867. The following year, he accepted the proposal of two London publishers, the art dealers James Fairless and George Lord Beeforth, to open a gallery at 35 New Bond Street in London, entirely dedicated to the permanent display of his paintings: the Doré Gallery.The illustrations of his monumental Bible, published on December 1, 1865, to take advantage of Christmas sales, in all the capitals of Europe, gave him a reputation as religious painter. He created several more or less spectacular religious paintings that were intended for the Doré Gallery, which included this monumental Christ Leaving the Praetorium. He started working on it in 1867, and it would take him five years to complete it. The work was frequently interrupted by the making of several illustration works, and mostly by the siege of Paris at the French-Prussian War, and then the insurrection of the Paris Commune, during which he rolled up and buried his canvas. He only resumed his work on the painting in the beginning of 1872 and finished it in April.The painting was finally sent to London in May 1872. After Doré's death, in 1883, the painting was part of a long traveling exhibition of the Doré Gallery in the United States, starting in 1892. It began in Carnegie Hall, in New York City, and finished triumphantly in Chicago, in 1896. When the painting returned to London in 1898, after the death of the owners of the Doré Gallery, it was stored and forgotten.Rediscovered in the 1960s, it was acquired by Oscar Kline, owner of the Central Picture Gallery in New York, before entering the collection of George Encil in 1984, who placed it on deposit in Vienna in the Votivkirche. In 1988, it was bought by the Museum of Modern and Contemporary Art, in Strasbourg, thanks to the Regional Fund for the Acquisition of Museums, and finally returned to France. Since its restoration, this masterpiece by Gustave Doré is exhibited in a room to its measure, vast and very high, with some of his other paintings.The episode depicted in this work is original: it took place between two episodes of the Passion of Christ, often represented in religious iconography, the Presentation of Jesus to the crowd by Pontius Pilate, who let them choose between Him and Barrabas, and the Carrying of the Cross. According to one of his first biographers, his friend William Blanchard Jerrold, the fact that this particular episode had never been represented previously in painting was evoked during a meal at George Grove in Sydenham in the company of the Rev. Frederick Harford, canon of Westminster Abbey, in 1867.Doré immediately was set to work, and made numerous studies in black and white for the groups of figures, the head of Christ. He sometimes felt irritated at having to postpone it to work on his illustrations. When he traveled in London in the company of Blanchard Jerrold to prepare the illustrations for London: A Pilgrimage, the latter found him obsessed with his large painting, to the point of integrating certain London perspectives into it. This is how the view of the neoclassical St George's Church, in Hanover Square, with the statue of William Pitt the Younger, in the southern part of it, on a particularly gloomy morning, inspired him to create the colonnades of the temple on the right and the statue in the background at the center of the painting.Originally, the painting was "bathed in light" according to Blanchard Jerrold. But Frederick Harford, during a visit to Doré in 1870, when the painting was practically finished, felt disappointed: for him, " the sky should have been overcast; this dreadful morning should not have been sunny" , and the painter, understanding his criticism, begun to darken the top of the canvas, gradually bringing out "the awesome majesty of the Savior in the sadness of this sad morning". Shelved during the siege of Paris, the painting was not resumed and completed until after the end of the 1870 war. It was presented in Paris in April 1872, before leaving for London in May.

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

File:Gustave doré, cristo lascia il pretorio, 1874-1800.JPG

Category:Paintings in the Musée d'Arts de Nantes

Category:Paintings in the Strasbourg Museum of Modern and Contemporary Art

File:Le Christ quittant le prétoire-Gustave Doré (2).jpg

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

Prompt: Focus on Christ Leaving the Praetorium and explain the Description.

Pilate, wearing a purple toga, is standing at the top of the steps, completely drowned in shadows in the background, like Herod Antipas. Caiaphas, and two other people, on the right on the steps, slightly behind Jesus, rejoice at his condemnation. Judas Iscariot, in the crowd, on the left, turns away, with his eyes lowered, while most of the figures are facing Jesus. To the right, at the bottom of the steps, standing in the middle of the crowd, violently pushed back by the soldiers, stands the Virgin Mary, recognizable by her blue and white clothes, in accordance with tradition, she is surrounded by the holy women and John the Apostle, on whose shoulder Mary Magdalene faints.Because of the large dimensions of the canvas, the painter did not really unified the perspective, to avoid deformations; but it is nevertheless rigorous: the vanishing point of the paving is located towards the foot of Jesus, while the lines of the architectures in the background converge on the statue of Caesar drowned in the mist. This symbolic construction recalls the question of the two powers (temporal and spiritual) at the heart of the trial of Jesus.Christ is placed exactly in the center of the composition and of the guiding lines which structure the painting: the vertical axis of symmetry, the horizontal line of the balustrade, and the transverse lines, which all intersect at the level of his head. Its posture is dignified, in a mixture of fragility and nobility. Dressed in white, with his head bloodied by the crown of thorns, radiating a soft light, Jesus descends the steps which he seems to illuminate with his presence. He is the only one among all the characters, that looks in the direction of the spectators. Around him the action is unleashed, in a swarm of expressive characters. The soldiers brutally push the crowd to the right, spectators gesticulate; a whole range of feelings can be found in the attitudes of the innumerable extras who populate the painting: curiosity, compassion, pain, hatred, satisfaction... But the composition of the painting remains very classic, even academic, with its large architectures reminiscent of works like The School of Athens, by Raphael, or The Wedding at Cana, by Veronese. While falling within the contemporary imagery of Jesus, of the time, this "grand spectacle" painting, intended to impress a wide audience, seems to evoke future Hollywood blockbusters.

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

File:Gustave doré, cristo lascia il pretorio, 1874-1800.JPG

Category:Paintings in the Musée d'Arts de Nantes

Category:Paintings in the Strasbourg Museum of Modern and Contemporary Art

File:Le Christ quittant le prétoire-Gustave Doré (2).jpg

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

Prompt: Explain the Description of this artwork, Christ Leaving the Praetorium.

Pilate, wearing a purple toga, is standing at the top of the steps, completely drowned in shadows in the background, like Herod Antipas. Caiaphas, and two other people, on the right on the steps, slightly behind Jesus, rejoice at his condemnation. Judas Iscariot, in the crowd, on the left, turns away, with his eyes lowered, while most of the figures are facing Jesus. To the right, at the bottom of the steps, standing in the middle of the crowd, violently pushed back by the soldiers, stands the Virgin Mary, recognizable by her blue and white clothes, in accordance with tradition, she is surrounded by the holy women and John the Apostle, on whose shoulder Mary Magdalene faints.Because of the large dimensions of the canvas, the painter did not really unified the perspective, to avoid deformations; but it is nevertheless rigorous: the vanishing point of the paving is located towards the foot of Jesus, while the lines of the architectures in the background converge on the statue of Caesar drowned in the mist. This symbolic construction recalls the question of the two powers (temporal and spiritual) at the heart of the trial of Jesus.Christ is placed exactly in the center of the composition and of the guiding lines which structure the painting: the vertical axis of symmetry, the horizontal line of the balustrade, and the transverse lines, which all intersect at the level of his head. Its posture is dignified, in a mixture of fragility and nobility. Dressed in white, with his head bloodied by the crown of thorns, radiating a soft light, Jesus descends the steps which he seems to illuminate with his presence. He is the only one among all the characters, that looks in the direction of the spectators. Around him the action is unleashed, in a swarm of expressive characters. The soldiers brutally push the crowd to the right, spectators gesticulate; a whole range of feelings can be found in the attitudes of the innumerable extras who populate the painting: curiosity, compassion, pain, hatred, satisfaction... But the composition of the painting remains very classic, even academic, with its large architectures reminiscent of works like The School of Athens, by Raphael, or The Wedding at Cana, by Veronese. While falling within the contemporary imagery of Jesus, of the time, this "grand spectacle" painting, intended to impress a wide audience, seems to evoke future Hollywood blockbusters.

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

File:Gustave doré, cristo lascia il pretorio, 1874-1800.JPG

Category:Paintings in the Musée d'Arts de Nantes

Category:Paintings in the Strasbourg Museum of Modern and Contemporary Art

File:Le Christ quittant le prétoire-Gustave Doré (2).jpg

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

Prompt: How does Christ Leaving the Praetorium explain its Description?

Pilate, wearing a purple toga, is standing at the top of the steps, completely drowned in shadows in the background, like Herod Antipas. Caiaphas, and two other people, on the right on the steps, slightly behind Jesus, rejoice at his condemnation. Judas Iscariot, in the crowd, on the left, turns away, with his eyes lowered, while most of the figures are facing Jesus. To the right, at the bottom of the steps, standing in the middle of the crowd, violently pushed back by the soldiers, stands the Virgin Mary, recognizable by her blue and white clothes, in accordance with tradition, she is surrounded by the holy women and John the Apostle, on whose shoulder Mary Magdalene faints.Because of the large dimensions of the canvas, the painter did not really unified the perspective, to avoid deformations; but it is nevertheless rigorous: the vanishing point of the paving is located towards the foot of Jesus, while the lines of the architectures in the background converge on the statue of Caesar drowned in the mist. This symbolic construction recalls the question of the two powers (temporal and spiritual) at the heart of the trial of Jesus.Christ is placed exactly in the center of the composition and of the guiding lines which structure the painting: the vertical axis of symmetry, the horizontal line of the balustrade, and the transverse lines, which all intersect at the level of his head. Its posture is dignified, in a mixture of fragility and nobility. Dressed in white, with his head bloodied by the crown of thorns, radiating a soft light, Jesus descends the steps which he seems to illuminate with his presence. He is the only one among all the characters, that looks in the direction of the spectators. Around him the action is unleashed, in a swarm of expressive characters. The soldiers brutally push the crowd to the right, spectators gesticulate; a whole range of feelings can be found in the attitudes of the innumerable extras who populate the painting: curiosity, compassion, pain, hatred, satisfaction... But the composition of the painting remains very classic, even academic, with its large architectures reminiscent of works like The School of Athens, by Raphael, or The Wedding at Cana, by Veronese. While falling within the contemporary imagery of Jesus, of the time, this "grand spectacle" painting, intended to impress a wide audience, seems to evoke future Hollywood blockbusters.

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

File:Gustave doré, cristo lascia il pretorio, 1874-1800.JPG

Category:Paintings in the Musée d'Arts de Nantes

Category:Paintings in the Strasbourg Museum of Modern and Contemporary Art

File:Le Christ quittant le prétoire-Gustave Doré (2).jpg

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

Prompt: In Christ Leaving the Praetorium, how is the Description discussed?

Pilate, wearing a purple toga, is standing at the top of the steps, completely drowned in shadows in the background, like Herod Antipas. Caiaphas, and two other people, on the right on the steps, slightly behind Jesus, rejoice at his condemnation. Judas Iscariot, in the crowd, on the left, turns away, with his eyes lowered, while most of the figures are facing Jesus. To the right, at the bottom of the steps, standing in the middle of the crowd, violently pushed back by the soldiers, stands the Virgin Mary, recognizable by her blue and white clothes, in accordance with tradition, she is surrounded by the holy women and John the Apostle, on whose shoulder Mary Magdalene faints.Because of the large dimensions of the canvas, the painter did not really unified the perspective, to avoid deformations; but it is nevertheless rigorous: the vanishing point of the paving is located towards the foot of Jesus, while the lines of the architectures in the background converge on the statue of Caesar drowned in the mist. This symbolic construction recalls the question of the two powers (temporal and spiritual) at the heart of the trial of Jesus.Christ is placed exactly in the center of the composition and of the guiding lines which structure the painting: the vertical axis of symmetry, the horizontal line of the balustrade, and the transverse lines, which all intersect at the level of his head. Its posture is dignified, in a mixture of fragility and nobility. Dressed in white, with his head bloodied by the crown of thorns, radiating a soft light, Jesus descends the steps which he seems to illuminate with his presence. He is the only one among all the characters, that looks in the direction of the spectators. Around him the action is unleashed, in a swarm of expressive characters. The soldiers brutally push the crowd to the right, spectators gesticulate; a whole range of feelings can be found in the attitudes of the innumerable extras who populate the painting: curiosity, compassion, pain, hatred, satisfaction... But the composition of the painting remains very classic, even academic, with its large architectures reminiscent of works like The School of Athens, by Raphael, or The Wedding at Cana, by Veronese. While falling within the contemporary imagery of Jesus, of the time, this "grand spectacle" painting, intended to impress a wide audience, seems to evoke future Hollywood blockbusters.

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

File:Gustave doré, cristo lascia il pretorio, 1874-1800.JPG

Category:Paintings in the Musée d'Arts de Nantes

Category:Paintings in the Strasbourg Museum of Modern and Contemporary Art

File:Le Christ quittant le prétoire-Gustave Doré (2).jpg

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

Prompt: Focus on Christ Leaving the Praetorium and explain the Reception.

This painting, considered by the painter as the "work of his life", is quite exemplary of his work: the composition is ample, the staging theatrical and dramatic. Admittedly, it is not free from faults: thus, Blanchard Jerrold notes "the relative proportions of the characters, the unfinished drawing, in short, various weaknesses of a technical nature", such as this fault in the perspective of the cross on the foreground (even more marked in the replica of Nantes). But to see only them would be to "reduce the artist to the rank of simple craftsman", while, in front of this painting, the viewer is emotionally carried away by the painter's force of conviction, his power to create space, to make present the multitude and the "majesty of the Savior, who directs himself, detached, in a calm serene, towards Golgotha ". Moreover, Nadine Lehni, chief curator at the Rodin Museum, analyzing the replica kept in Nantes in 1987, said that she was struck by "the gigantism of its composition and the vitality that emanates from it".

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

File:Gustave doré, cristo lascia il pretorio, 1874-1800.JPG

Category:Paintings in the Musée d'Arts de Nantes

Category:Paintings in the Strasbourg Museum of Modern and Contemporary Art

File:Le Christ quittant le prétoire-Gustave Doré (2).jpg

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

Prompt: Explain the Reception of this artwork, Christ Leaving the Praetorium.

This painting, considered by the painter as the "work of his life", is quite exemplary of his work: the composition is ample, the staging theatrical and dramatic. Admittedly, it is not free from faults: thus, Blanchard Jerrold notes "the relative proportions of the characters, the unfinished drawing, in short, various weaknesses of a technical nature", such as this fault in the perspective of the cross on the foreground (even more marked in the replica of Nantes). But to see only them would be to "reduce the artist to the rank of simple craftsman", while, in front of this painting, the viewer is emotionally carried away by the painter's force of conviction, his power to create space, to make present the multitude and the "majesty of the Savior, who directs himself, detached, in a calm serene, towards Golgotha ". Moreover, Nadine Lehni, chief curator at the Rodin Museum, analyzing the replica kept in Nantes in 1987, said that she was struck by "the gigantism of its composition and the vitality that emanates from it".

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

File:Gustave doré, cristo lascia il pretorio, 1874-1800.JPG

Category:Paintings in the Musée d'Arts de Nantes

Category:Paintings in the Strasbourg Museum of Modern and Contemporary Art

File:Le Christ quittant le prétoire-Gustave Doré (2).jpg

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

Prompt: How does Christ Leaving the Praetorium explain its Reception?

This painting, considered by the painter as the "work of his life", is quite exemplary of his work: the composition is ample, the staging theatrical and dramatic. Admittedly, it is not free from faults: thus, Blanchard Jerrold notes "the relative proportions of the characters, the unfinished drawing, in short, various weaknesses of a technical nature", such as this fault in the perspective of the cross on the foreground (even more marked in the replica of Nantes). But to see only them would be to "reduce the artist to the rank of simple craftsman", while, in front of this painting, the viewer is emotionally carried away by the painter's force of conviction, his power to create space, to make present the multitude and the "majesty of the Savior, who directs himself, detached, in a calm serene, towards Golgotha ". Moreover, Nadine Lehni, chief curator at the Rodin Museum, analyzing the replica kept in Nantes in 1987, said that she was struck by "the gigantism of its composition and the vitality that emanates from it".

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

File:Gustave doré, cristo lascia il pretorio, 1874-1800.JPG

Category:Paintings in the Musée d'Arts de Nantes

Category:Paintings in the Strasbourg Museum of Modern and Contemporary Art

File:Le Christ quittant le prétoire-Gustave Doré (2).jpg

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

Prompt: In Christ Leaving the Praetorium, how is the Reception discussed?

This painting, considered by the painter as the "work of his life", is quite exemplary of his work: the composition is ample, the staging theatrical and dramatic. Admittedly, it is not free from faults: thus, Blanchard Jerrold notes "the relative proportions of the characters, the unfinished drawing, in short, various weaknesses of a technical nature", such as this fault in the perspective of the cross on the foreground (even more marked in the replica of Nantes). But to see only them would be to "reduce the artist to the rank of simple craftsman", while, in front of this painting, the viewer is emotionally carried away by the painter's force of conviction, his power to create space, to make present the multitude and the "majesty of the Savior, who directs himself, detached, in a calm serene, towards Golgotha ". Moreover, Nadine Lehni, chief curator at the Rodin Museum, analyzing the replica kept in Nantes in 1987, said that she was struck by "the gigantism of its composition and the vitality that emanates from it".

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

File:Gustave doré, cristo lascia il pretorio, 1874-1800.JPG

Category:Paintings in the Musée d'Arts de Nantes

Category:Paintings in the Strasbourg Museum of Modern and Contemporary Art

File:Le Christ quittant le prétoire-Gustave Doré (2).jpg

Category:Cultural depictions of Herod Antipas


Prompt: Focus on Street Scene near the El Ghouri Mosque in Cairo and explain the abstract.

Street Scene near the El Ghouri Mosque in Cairo is a c. 1876 oil and watercolour painting by the British Orientalist artist John Frederick Lewis, produced just before his death. He had left Cairo around 25 years earlier, after twelve years there. He based it on a drawing he had made from life between 1841 and 1851, which is now in the Courtauld Gallery in London. The final work belonged to Christopher Forbes and was among works given to the Louvre's American Friends in 2011 by Forbes' family.It shows both sides of Al-Mu'izz li-Din Allah Street, the main street of medieval Cairo, between the Zuweila Gate and the El Foutouh Gate, at the intersection of El Azhar Street. On the right are the stairs and the porch to the El Ghouri madrasa and mosque. To the left is the cenotaph of the sultan (whose body was never recovered after the 1516 Battle of Marj Dabiq north of Aleppo against the Ottomans) and a sabil-kuttab; both of these buildings were commissioned by Mamluk sultan Al-Ghuri in 1504-1505 and are collectively known as the Wékalet Al-Ghuri.

''Le Bazar des marchands de soie'' tableau de David Roberts

Image:David Roberts silk mercers bazaar.jpg

Category:Paintings in the Louvre by British artists

Fichier:John Frederick Lewis The street and mosque al Ghouri in Cairo detail 1.JPG

Fichier:John Frederick Lewis The street and mosque al Ghouri in Cairo detail 3.JPG

Fichier:John Frederick Lewis The street and mosque al Ghouri in Cairo detail 2.JPG


Prompt: Explain the abstract of this artwork, Street Scene near the El Ghouri Mosque in Cairo.

Street Scene near the El Ghouri Mosque in Cairo is a c. 1876 oil and watercolour painting by the British Orientalist artist John Frederick Lewis, produced just before his death. He had left Cairo around 25 years earlier, after twelve years there. He based it on a drawing he had made from life between 1841 and 1851, which is now in the Courtauld Gallery in London. The final work belonged to Christopher Forbes and was among works given to the Louvre's American Friends in 2011 by Forbes' family.It shows both sides of Al-Mu'izz li-Din Allah Street, the main street of medieval Cairo, between the Zuweila Gate and the El Foutouh Gate, at the intersection of El Azhar Street. On the right are the stairs and the porch to the El Ghouri madrasa and mosque. To the left is the cenotaph of the sultan (whose body was never recovered after the 1516 Battle of Marj Dabiq north of Aleppo against the Ottomans) and a sabil-kuttab; both of these buildings were commissioned by Mamluk sultan Al-Ghuri in 1504-1505 and are collectively known as the Wékalet Al-Ghuri.

''Le Bazar des marchands de soie'' tableau de David Roberts

Image:David Roberts silk mercers bazaar.jpg

Category:Paintings in the Louvre by British artists

Fichier:John Frederick Lewis The street and mosque al Ghouri in Cairo detail 1.JPG

Fichier:John Frederick Lewis The street and mosque al Ghouri in Cairo detail 3.JPG

Fichier:John Frederick Lewis The street and mosque al Ghouri in Cairo detail 2.JPG


Prompt: How does Street Scene near the El Ghouri Mosque in Cairo explain its abstract?

Street Scene near the El Ghouri Mosque in Cairo is a c. 1876 oil and watercolour painting by the British Orientalist artist John Frederick Lewis, produced just before his death. He had left Cairo around 25 years earlier, after twelve years there. He based it on a drawing he had made from life between 1841 and 1851, which is now in the Courtauld Gallery in London. The final work belonged to Christopher Forbes and was among works given to the Louvre's American Friends in 2011 by Forbes' family.It shows both sides of Al-Mu'izz li-Din Allah Street, the main street of medieval Cairo, between the Zuweila Gate and the El Foutouh Gate, at the intersection of El Azhar Street. On the right are the stairs and the porch to the El Ghouri madrasa and mosque. To the left is the cenotaph of the sultan (whose body was never recovered after the 1516 Battle of Marj Dabiq north of Aleppo against the Ottomans) and a sabil-kuttab; both of these buildings were commissioned by Mamluk sultan Al-Ghuri in 1504-1505 and are collectively known as the Wékalet Al-Ghuri.

''Le Bazar des marchands de soie'' tableau de David Roberts

Image:David Roberts silk mercers bazaar.jpg

Category:Paintings in the Louvre by British artists

Fichier:John Frederick Lewis The street and mosque al Ghouri in Cairo detail 1.JPG

Fichier:John Frederick Lewis The street and mosque al Ghouri in Cairo detail 3.JPG

Fichier:John Frederick Lewis The street and mosque al Ghouri in Cairo detail 2.JPG


Prompt: In Street Scene near the El Ghouri Mosque in Cairo, how is the abstract discussed?

Street Scene near the El Ghouri Mosque in Cairo is a c. 1876 oil and watercolour painting by the British Orientalist artist John Frederick Lewis, produced just before his death. He had left Cairo around 25 years earlier, after twelve years there. He based it on a drawing he had made from life between 1841 and 1851, which is now in the Courtauld Gallery in London. The final work belonged to Christopher Forbes and was among works given to the Louvre's American Friends in 2011 by Forbes' family.It shows both sides of Al-Mu'izz li-Din Allah Street, the main street of medieval Cairo, between the Zuweila Gate and the El Foutouh Gate, at the intersection of El Azhar Street. On the right are the stairs and the porch to the El Ghouri madrasa and mosque. To the left is the cenotaph of the sultan (whose body was never recovered after the 1516 Battle of Marj Dabiq north of Aleppo against the Ottomans) and a sabil-kuttab; both of these buildings were commissioned by Mamluk sultan Al-Ghuri in 1504-1505 and are collectively known as the Wékalet Al-Ghuri.

''Le Bazar des marchands de soie'' tableau de David Roberts

Image:David Roberts silk mercers bazaar.jpg

Category:Paintings in the Louvre by British artists

Fichier:John Frederick Lewis The street and mosque al Ghouri in Cairo detail 1.JPG

Fichier:John Frederick Lewis The street and mosque al Ghouri in Cairo detail 3.JPG

Fichier:John Frederick Lewis The street and mosque al Ghouri in Cairo detail 2.JPG


The Watzmann

Prompt: Focus on The Watzmann and explain the abstract.

The Watzmann (German - Der Watzmann) is an 1824-1825 oil on canvas painting by Caspar David Friedrich, showing the Watzmann mountain as seen from Berchtesgaden to the north-east. It is now on display in the Alte Nationalgalerie in Berlin.It was acquired in 1832 by senator Carl Friedrich Pogge von Greifswald, then later by Adolf Gustav Barthold Georg von Pressentin (1814–1879), who lived in Rostock. After von Pressentin's death it was acquired by Martin Brunn, a Jewish art collector who lived in Berlin. Nazi racial laws forced him to flee Germany and he sold it to the Alte Nationalgalerie in Berlin in 1937 for 25,000 reichsmarks to fund his family's escape to the USA. Hoping to display it in the Berghof, his home at Berchtesgaden, Adolf Hitler granted 10,000 reichsmarks towards the purchase price, but the state considered the painting to be part of the 'Jewish Property Tax' or 'Judenvermögensabgabe'. In 2002 the Prussian Cultural Heritage Foundation and Brunn's heirs negotiated a compromise, whereby the DekaBank was allowed to buy the painting from his heirs for less than its market value (with the Kulturstiftung der Länder as an intermediary) and then place it back in the Nationalgalerie as a long-term loan.

Category:Paintings in the Alte Nationalgalerie

Category:Paintings by Caspar David Friedrich


The Watzmann

Prompt: Explain the abstract of this artwork, The Watzmann.

The Watzmann (German - Der Watzmann) is an 1824-1825 oil on canvas painting by Caspar David Friedrich, showing the Watzmann mountain as seen from Berchtesgaden to the north-east. It is now on display in the Alte Nationalgalerie in Berlin.It was acquired in 1832 by senator Carl Friedrich Pogge von Greifswald, then later by Adolf Gustav Barthold Georg von Pressentin (1814–1879), who lived in Rostock. After von Pressentin's death it was acquired by Martin Brunn, a Jewish art collector who lived in Berlin. Nazi racial laws forced him to flee Germany and he sold it to the Alte Nationalgalerie in Berlin in 1937 for 25,000 reichsmarks to fund his family's escape to the USA. Hoping to display it in the Berghof, his home at Berchtesgaden, Adolf Hitler granted 10,000 reichsmarks towards the purchase price, but the state considered the painting to be part of the 'Jewish Property Tax' or 'Judenvermögensabgabe'. In 2002 the Prussian Cultural Heritage Foundation and Brunn's heirs negotiated a compromise, whereby the DekaBank was allowed to buy the painting from his heirs for less than its market value (with the Kulturstiftung der Länder as an intermediary) and then place it back in the Nationalgalerie as a long-term loan.

Category:Paintings in the Alte Nationalgalerie

Category:Paintings by Caspar David Friedrich


The Watzmann

Prompt: How does The Watzmann explain its abstract?

The Watzmann (German - Der Watzmann) is an 1824-1825 oil on canvas painting by Caspar David Friedrich, showing the Watzmann mountain as seen from Berchtesgaden to the north-east. It is now on display in the Alte Nationalgalerie in Berlin.It was acquired in 1832 by senator Carl Friedrich Pogge von Greifswald, then later by Adolf Gustav Barthold Georg von Pressentin (1814–1879), who lived in Rostock. After von Pressentin's death it was acquired by Martin Brunn, a Jewish art collector who lived in Berlin. Nazi racial laws forced him to flee Germany and he sold it to the Alte Nationalgalerie in Berlin in 1937 for 25,000 reichsmarks to fund his family's escape to the USA. Hoping to display it in the Berghof, his home at Berchtesgaden, Adolf Hitler granted 10,000 reichsmarks towards the purchase price, but the state considered the painting to be part of the 'Jewish Property Tax' or 'Judenvermögensabgabe'. In 2002 the Prussian Cultural Heritage Foundation and Brunn's heirs negotiated a compromise, whereby the DekaBank was allowed to buy the painting from his heirs for less than its market value (with the Kulturstiftung der Länder as an intermediary) and then place it back in the Nationalgalerie as a long-term loan.

Category:Paintings in the Alte Nationalgalerie

Category:Paintings by Caspar David Friedrich


The Watzmann

Prompt: In The Watzmann, how is the abstract discussed?

The Watzmann (German - Der Watzmann) is an 1824-1825 oil on canvas painting by Caspar David Friedrich, showing the Watzmann mountain as seen from Berchtesgaden to the north-east. It is now on display in the Alte Nationalgalerie in Berlin.It was acquired in 1832 by senator Carl Friedrich Pogge von Greifswald, then later by Adolf Gustav Barthold Georg von Pressentin (1814–1879), who lived in Rostock. After von Pressentin's death it was acquired by Martin Brunn, a Jewish art collector who lived in Berlin. Nazi racial laws forced him to flee Germany and he sold it to the Alte Nationalgalerie in Berlin in 1937 for 25,000 reichsmarks to fund his family's escape to the USA. Hoping to display it in the Berghof, his home at Berchtesgaden, Adolf Hitler granted 10,000 reichsmarks towards the purchase price, but the state considered the painting to be part of the 'Jewish Property Tax' or 'Judenvermögensabgabe'. In 2002 the Prussian Cultural Heritage Foundation and Brunn's heirs negotiated a compromise, whereby the DekaBank was allowed to buy the painting from his heirs for less than its market value (with the Kulturstiftung der Länder as an intermediary) and then place it back in the Nationalgalerie as a long-term loan.

Category:Paintings in the Alte Nationalgalerie

Category:Paintings by Caspar David Friedrich


St Sebastian (Perugino, Louvre)

Prompt: Focus on St Sebastian (Perugino, Louvre) and explain the abstract.

Saint Sebastian is a c.1495 painting of Saint Sebastian by Perugino, now in the Louvre collection. It was temporarily on display at the Louvre-Lens branch between 2012 and 2017. It is probably the work mentioned in the 17th century inventory of the Barberini collection in Rome, which was later dispersed. Several pieces from it were taken abroad during the 19th century, with St Sebastian being bought by the Louvre in 1896.It shows the saint in a contrapposto pose drawn from the Doryphoros of Polykleitos, echoed in a later autograph copy now in São Paulo. The symmetrical composition draws on Perugino's earlier works - he first used the motif in St Sebastian between St Roch and St Peter, a fresco painted in Cerqueto near Perugia. He stands on a terrace beneath a monumental arch with grotesque-decorated pilasters and a balustrade. On the base of the platform is the Latin inscription "SAGITTAE. TUAE.INFIXAE. SUNT. MICHI", drawn from Psalm 38:2 ("Thy arrows are fixed in me"). The deep landscape background is typical of the artist, with wooded hills and mountains. To the left are a ruined vault and pillar, symbolising the downfall of the pagan world.

Category:Paintings in the Louvre by Italian artists


St Sebastian (Perugino, Louvre)

Prompt: Explain the abstract of this artwork, St Sebastian (Perugino, Louvre).

Saint Sebastian is a c.1495 painting of Saint Sebastian by Perugino, now in the Louvre collection. It was temporarily on display at the Louvre-Lens branch between 2012 and 2017. It is probably the work mentioned in the 17th century inventory of the Barberini collection in Rome, which was later dispersed. Several pieces from it were taken abroad during the 19th century, with St Sebastian being bought by the Louvre in 1896.It shows the saint in a contrapposto pose drawn from the Doryphoros of Polykleitos, echoed in a later autograph copy now in São Paulo. The symmetrical composition draws on Perugino's earlier works - he first used the motif in St Sebastian between St Roch and St Peter, a fresco painted in Cerqueto near Perugia. He stands on a terrace beneath a monumental arch with grotesque-decorated pilasters and a balustrade. On the base of the platform is the Latin inscription "SAGITTAE. TUAE.INFIXAE. SUNT. MICHI", drawn from Psalm 38:2 ("Thy arrows are fixed in me"). The deep landscape background is typical of the artist, with wooded hills and mountains. To the left are a ruined vault and pillar, symbolising the downfall of the pagan world.

Category:Paintings in the Louvre by Italian artists


St Sebastian (Perugino, Louvre)

Prompt: How does St Sebastian (Perugino, Louvre) explain its abstract?

Saint Sebastian is a c.1495 painting of Saint Sebastian by Perugino, now in the Louvre collection. It was temporarily on display at the Louvre-Lens branch between 2012 and 2017. It is probably the work mentioned in the 17th century inventory of the Barberini collection in Rome, which was later dispersed. Several pieces from it were taken abroad during the 19th century, with St Sebastian being bought by the Louvre in 1896.It shows the saint in a contrapposto pose drawn from the Doryphoros of Polykleitos, echoed in a later autograph copy now in São Paulo. The symmetrical composition draws on Perugino's earlier works - he first used the motif in St Sebastian between St Roch and St Peter, a fresco painted in Cerqueto near Perugia. He stands on a terrace beneath a monumental arch with grotesque-decorated pilasters and a balustrade. On the base of the platform is the Latin inscription "SAGITTAE. TUAE.INFIXAE. SUNT. MICHI", drawn from Psalm 38:2 ("Thy arrows are fixed in me"). The deep landscape background is typical of the artist, with wooded hills and mountains. To the left are a ruined vault and pillar, symbolising the downfall of the pagan world.

Category:Paintings in the Louvre by Italian artists


St Sebastian (Perugino, Louvre)

Prompt: In St Sebastian (Perugino, Louvre), how is the abstract discussed?

Saint Sebastian is a c.1495 painting of Saint Sebastian by Perugino, now in the Louvre collection. It was temporarily on display at the Louvre-Lens branch between 2012 and 2017. It is probably the work mentioned in the 17th century inventory of the Barberini collection in Rome, which was later dispersed. Several pieces from it were taken abroad during the 19th century, with St Sebastian being bought by the Louvre in 1896.It shows the saint in a contrapposto pose drawn from the Doryphoros of Polykleitos, echoed in a later autograph copy now in São Paulo. The symmetrical composition draws on Perugino's earlier works - he first used the motif in St Sebastian between St Roch and St Peter, a fresco painted in Cerqueto near Perugia. He stands on a terrace beneath a monumental arch with grotesque-decorated pilasters and a balustrade. On the base of the platform is the Latin inscription "SAGITTAE. TUAE.INFIXAE. SUNT. MICHI", drawn from Psalm 38:2 ("Thy arrows are fixed in me"). The deep landscape background is typical of the artist, with wooded hills and mountains. To the left are a ruined vault and pillar, symbolising the downfall of the pagan world.

Category:Paintings in the Louvre by Italian artists


Three Travellers before a Waterfall

Prompt: Focus on Three Travellers before a Waterfall and explain the abstract.

Three Travellers before a Waterfall is an ukiyo-e woodblock print by Osaka-based late Edo period print designer Ryūsai Shigeharu (柳斎 重春) (1802–1853). It depicts a light-hearted scene of two men and one woman travelling on foot through the country-side. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: Explain the abstract of this artwork, Three Travellers before a Waterfall.

Three Travellers before a Waterfall is an ukiyo-e woodblock print by Osaka-based late Edo period print designer Ryūsai Shigeharu (柳斎 重春) (1802–1853). It depicts a light-hearted scene of two men and one woman travelling on foot through the country-side. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: How does Three Travellers before a Waterfall explain its abstract?

Three Travellers before a Waterfall is an ukiyo-e woodblock print by Osaka-based late Edo period print designer Ryūsai Shigeharu (柳斎 重春) (1802–1853). It depicts a light-hearted scene of two men and one woman travelling on foot through the country-side. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: In Three Travellers before a Waterfall, how is the abstract discussed?

Three Travellers before a Waterfall is an ukiyo-e woodblock print by Osaka-based late Edo period print designer Ryūsai Shigeharu (柳斎 重春) (1802–1853). It depicts a light-hearted scene of two men and one woman travelling on foot through the country-side. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: Focus on Three Travellers before a Waterfall and explain the Print details.

Medium: kamigata nishiki-e (上方錦絵) woodblock print; ink and colour on paperFormat: tate-e (縦絵) vertical print; ichimai-e (一枚絵) single sheet printGenre: fūzokuga (風俗画) genre sceneJapanese title: noneExhibit title: Three Travellers by a WaterfallInscription: noneSignature: Ryūsai Shigeharu (柳斎重春画) in bottom right cornerPublisher's mark: nonePublisher's seal: noneCensor seal: noneDate seal: noneCredit line: none

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: Explain the Print details of this artwork, Three Travellers before a Waterfall.

Medium: kamigata nishiki-e (上方錦絵) woodblock print; ink and colour on paperFormat: tate-e (縦絵) vertical print; ichimai-e (一枚絵) single sheet printGenre: fūzokuga (風俗画) genre sceneJapanese title: noneExhibit title: Three Travellers by a WaterfallInscription: noneSignature: Ryūsai Shigeharu (柳斎重春画) in bottom right cornerPublisher's mark: nonePublisher's seal: noneCensor seal: noneDate seal: noneCredit line: none

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: How does Three Travellers before a Waterfall explain its Print details?

Medium: kamigata nishiki-e (上方錦絵) woodblock print; ink and colour on paperFormat: tate-e (縦絵) vertical print; ichimai-e (一枚絵) single sheet printGenre: fūzokuga (風俗画) genre sceneJapanese title: noneExhibit title: Three Travellers by a WaterfallInscription: noneSignature: Ryūsai Shigeharu (柳斎重春画) in bottom right cornerPublisher's mark: nonePublisher's seal: noneCensor seal: noneDate seal: noneCredit line: none

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: In Three Travellers before a Waterfall, how is the Print details discussed?

Medium: kamigata nishiki-e (上方錦絵) woodblock print; ink and colour on paperFormat: tate-e (縦絵) vertical print; ichimai-e (一枚絵) single sheet printGenre: fūzokuga (風俗画) genre sceneJapanese title: noneExhibit title: Three Travellers by a WaterfallInscription: noneSignature: Ryūsai Shigeharu (柳斎重春画) in bottom right cornerPublisher's mark: nonePublisher's seal: noneCensor seal: noneDate seal: noneCredit line: none

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: Focus on Three Travellers before a Waterfall and explain the Artist.

Though Ryūsai Shigeharu (柳窗重春/柳斎重春) (1802/3–1853) was born in Nagasaki, Kyushu, he moved to Osaka around 1820. He began to study under Utagawa (Takigawa) Kunihiro (歌川国広) (fl. c.1815-1841), then under Yanagawa Shigenobu (柳川重信) (1787–1832). His first print was published in 1820 under the name Nagasaki Kunishige (長崎国重), one of the various gō he used during his career. He took the name Ryūsai Shigeharu in 1825. He worked in several media including single-sheet prints, book illustration, theater billboards, and painting. He was active between c.1820 and 1849, and was, if not the only professional ukiyo-e artist in Osaka in the late nineteenth-century, one of the very few on the amateur-dominated scene.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: Explain the Artist of this artwork, Three Travellers before a Waterfall.

Though Ryūsai Shigeharu (柳窗重春/柳斎重春) (1802/3–1853) was born in Nagasaki, Kyushu, he moved to Osaka around 1820. He began to study under Utagawa (Takigawa) Kunihiro (歌川国広) (fl. c.1815-1841), then under Yanagawa Shigenobu (柳川重信) (1787–1832). His first print was published in 1820 under the name Nagasaki Kunishige (長崎国重), one of the various gō he used during his career. He took the name Ryūsai Shigeharu in 1825. He worked in several media including single-sheet prints, book illustration, theater billboards, and painting. He was active between c.1820 and 1849, and was, if not the only professional ukiyo-e artist in Osaka in the late nineteenth-century, one of the very few on the amateur-dominated scene.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: How does Three Travellers before a Waterfall explain its Artist?

Though Ryūsai Shigeharu (柳窗重春/柳斎重春) (1802/3–1853) was born in Nagasaki, Kyushu, he moved to Osaka around 1820. He began to study under Utagawa (Takigawa) Kunihiro (歌川国広) (fl. c.1815-1841), then under Yanagawa Shigenobu (柳川重信) (1787–1832). His first print was published in 1820 under the name Nagasaki Kunishige (長崎国重), one of the various gō he used during his career. He took the name Ryūsai Shigeharu in 1825. He worked in several media including single-sheet prints, book illustration, theater billboards, and painting. He was active between c.1820 and 1849, and was, if not the only professional ukiyo-e artist in Osaka in the late nineteenth-century, one of the very few on the amateur-dominated scene.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: In Three Travellers before a Waterfall, how is the Artist discussed?

Though Ryūsai Shigeharu (柳窗重春/柳斎重春) (1802/3–1853) was born in Nagasaki, Kyushu, he moved to Osaka around 1820. He began to study under Utagawa (Takigawa) Kunihiro (歌川国広) (fl. c.1815-1841), then under Yanagawa Shigenobu (柳川重信) (1787–1832). His first print was published in 1820 under the name Nagasaki Kunishige (長崎国重), one of the various gō he used during his career. He took the name Ryūsai Shigeharu in 1825. He worked in several media including single-sheet prints, book illustration, theater billboards, and painting. He was active between c.1820 and 1849, and was, if not the only professional ukiyo-e artist in Osaka in the late nineteenth-century, one of the very few on the amateur-dominated scene.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: Focus on Three Travellers before a Waterfall and explain the Subject.

In the fore- and mid-ground of the scene, three travellers, two adult males and one youth, walk along a path in the countryside against the backdrop of a waterfall. The men wear waraji straw sandals, kyahan leggings, swords, and their kimono arranged such that the hems graze their calves in the style of Edo period travellers. All three figures wear variations of eboshi hats and light blue kimono; however each garment bears a different motif. In addition, each figure is carrying something. The boy carries a closed ōgi folding fan, the central figure carries the boy on his shoulder, and the figure in the foreground carries a small kotsuzumi (小鼓) drum in his left hand and a large white bundle in his right.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: Explain the Subject of this artwork, Three Travellers before a Waterfall.

In the fore- and mid-ground of the scene, three travellers, two adult males and one youth, walk along a path in the countryside against the backdrop of a waterfall. The men wear waraji straw sandals, kyahan leggings, swords, and their kimono arranged such that the hems graze their calves in the style of Edo period travellers. All three figures wear variations of eboshi hats and light blue kimono; however each garment bears a different motif. In addition, each figure is carrying something. The boy carries a closed ōgi folding fan, the central figure carries the boy on his shoulder, and the figure in the foreground carries a small kotsuzumi (小鼓) drum in his left hand and a large white bundle in his right.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: How does Three Travellers before a Waterfall explain its Subject?

In the fore- and mid-ground of the scene, three travellers, two adult males and one youth, walk along a path in the countryside against the backdrop of a waterfall. The men wear waraji straw sandals, kyahan leggings, swords, and their kimono arranged such that the hems graze their calves in the style of Edo period travellers. All three figures wear variations of eboshi hats and light blue kimono; however each garment bears a different motif. In addition, each figure is carrying something. The boy carries a closed ōgi folding fan, the central figure carries the boy on his shoulder, and the figure in the foreground carries a small kotsuzumi (小鼓) drum in his left hand and a large white bundle in his right.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: In Three Travellers before a Waterfall, how is the Subject discussed?

In the fore- and mid-ground of the scene, three travellers, two adult males and one youth, walk along a path in the countryside against the backdrop of a waterfall. The men wear waraji straw sandals, kyahan leggings, swords, and their kimono arranged such that the hems graze their calves in the style of Edo period travellers. All three figures wear variations of eboshi hats and light blue kimono; however each garment bears a different motif. In addition, each figure is carrying something. The boy carries a closed ōgi folding fan, the central figure carries the boy on his shoulder, and the figure in the foreground carries a small kotsuzumi (小鼓) drum in his left hand and a large white bundle in his right.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: Focus on Three Travellers before a Waterfall and explain the Medium and genre.

Ryūsai Shigeharu spent his most productive years in Osaka, and as such his works are categorized as kamigata-e (上方絵). This term was used to distinguish prints produced in the Kamigata region (Kyoto and Osaka) from those produced in Edo. Gaining prominence about a century after the appearance of ukiyo-e in Edo, kamigata-e were dominated by kabuki-e (images of kabuki actors), and were almost entirely the work of amateur “talented kabuki fans” promoting their heroes. Shigeharu was a rare exception to this rule.Although the "waterfall" of the print's title might suggest that the print belongs the fūkeiga (風景画) landscape genre, the focal point is the trio of travellers in the foreground. The image is related more closely to the fūzokuga (風俗画) 'genre scene' tradition. Also translated as "pictures of manners and customs," these images of common people engaged in popular activities appealed to ukiyo-e consumers through "a tremendous sense of immediacy, a feeling that he or she is right there participating in the scene." During the later years of the Edo period "travel became a popular form of leisure and the pleasures of the natural environment, interesting landmarks, and the adventures encountered on a journey became a popular inspiration for Ukiyo-e landscape prints and books."

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: Explain the Medium and genre of this artwork, Three Travellers before a Waterfall.

Ryūsai Shigeharu spent his most productive years in Osaka, and as such his works are categorized as kamigata-e (上方絵). This term was used to distinguish prints produced in the Kamigata region (Kyoto and Osaka) from those produced in Edo. Gaining prominence about a century after the appearance of ukiyo-e in Edo, kamigata-e were dominated by kabuki-e (images of kabuki actors), and were almost entirely the work of amateur “talented kabuki fans” promoting their heroes. Shigeharu was a rare exception to this rule.Although the "waterfall" of the print's title might suggest that the print belongs the fūkeiga (風景画) landscape genre, the focal point is the trio of travellers in the foreground. The image is related more closely to the fūzokuga (風俗画) 'genre scene' tradition. Also translated as "pictures of manners and customs," these images of common people engaged in popular activities appealed to ukiyo-e consumers through "a tremendous sense of immediacy, a feeling that he or she is right there participating in the scene." During the later years of the Edo period "travel became a popular form of leisure and the pleasures of the natural environment, interesting landmarks, and the adventures encountered on a journey became a popular inspiration for Ukiyo-e landscape prints and books."

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: How does Three Travellers before a Waterfall explain its Medium and genre?

Ryūsai Shigeharu spent his most productive years in Osaka, and as such his works are categorized as kamigata-e (上方絵). This term was used to distinguish prints produced in the Kamigata region (Kyoto and Osaka) from those produced in Edo. Gaining prominence about a century after the appearance of ukiyo-e in Edo, kamigata-e were dominated by kabuki-e (images of kabuki actors), and were almost entirely the work of amateur “talented kabuki fans” promoting their heroes. Shigeharu was a rare exception to this rule.Although the "waterfall" of the print's title might suggest that the print belongs the fūkeiga (風景画) landscape genre, the focal point is the trio of travellers in the foreground. The image is related more closely to the fūzokuga (風俗画) 'genre scene' tradition. Also translated as "pictures of manners and customs," these images of common people engaged in popular activities appealed to ukiyo-e consumers through "a tremendous sense of immediacy, a feeling that he or she is right there participating in the scene." During the later years of the Edo period "travel became a popular form of leisure and the pleasures of the natural environment, interesting landmarks, and the adventures encountered on a journey became a popular inspiration for Ukiyo-e landscape prints and books."

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: In Three Travellers before a Waterfall, how is the Medium and genre discussed?

Ryūsai Shigeharu spent his most productive years in Osaka, and as such his works are categorized as kamigata-e (上方絵). This term was used to distinguish prints produced in the Kamigata region (Kyoto and Osaka) from those produced in Edo. Gaining prominence about a century after the appearance of ukiyo-e in Edo, kamigata-e were dominated by kabuki-e (images of kabuki actors), and were almost entirely the work of amateur “talented kabuki fans” promoting their heroes. Shigeharu was a rare exception to this rule.Although the "waterfall" of the print's title might suggest that the print belongs the fūkeiga (風景画) landscape genre, the focal point is the trio of travellers in the foreground. The image is related more closely to the fūzokuga (風俗画) 'genre scene' tradition. Also translated as "pictures of manners and customs," these images of common people engaged in popular activities appealed to ukiyo-e consumers through "a tremendous sense of immediacy, a feeling that he or she is right there participating in the scene." During the later years of the Edo period "travel became a popular form of leisure and the pleasures of the natural environment, interesting landmarks, and the adventures encountered on a journey became a popular inspiration for Ukiyo-e landscape prints and books."

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: Focus on Three Travellers before a Waterfall and explain the Provenance.

The print was donated to the ROM by Sir Edmund Walker (1848–1924), long-time president of the Canadian Bank of Commerce and first Chairman of the Board of Trustees for the ROM. Walker began collecting Japanese art in the 1870s, making him one of the earliest North American collectors. He bought many pieces in New York in the 1870s and '80s, and during a trip to London in 1909. In 1919, after travelling to Japan, China and Korea, he was named Honorary Consul-General of Japan for Toronto.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: Explain the Provenance of this artwork, Three Travellers before a Waterfall.

The print was donated to the ROM by Sir Edmund Walker (1848–1924), long-time president of the Canadian Bank of Commerce and first Chairman of the Board of Trustees for the ROM. Walker began collecting Japanese art in the 1870s, making him one of the earliest North American collectors. He bought many pieces in New York in the 1870s and '80s, and during a trip to London in 1909. In 1919, after travelling to Japan, China and Korea, he was named Honorary Consul-General of Japan for Toronto.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: How does Three Travellers before a Waterfall explain its Provenance?

The print was donated to the ROM by Sir Edmund Walker (1848–1924), long-time president of the Canadian Bank of Commerce and first Chairman of the Board of Trustees for the ROM. Walker began collecting Japanese art in the 1870s, making him one of the earliest North American collectors. He bought many pieces in New York in the 1870s and '80s, and during a trip to London in 1909. In 1919, after travelling to Japan, China and Korea, he was named Honorary Consul-General of Japan for Toronto.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: In Three Travellers before a Waterfall, how is the Provenance discussed?

The print was donated to the ROM by Sir Edmund Walker (1848–1924), long-time president of the Canadian Bank of Commerce and first Chairman of the Board of Trustees for the ROM. Walker began collecting Japanese art in the 1870s, making him one of the earliest North American collectors. He bought many pieces in New York in the 1870s and '80s, and during a trip to London in 1909. In 1919, after travelling to Japan, China and Korea, he was named Honorary Consul-General of Japan for Toronto.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: Focus on Three Travellers before a Waterfall and explain the Related works.

The popularity of waterfalls within ukiyo-e design was given a distinct boost by a series of prints dating to around 1832 entitled  Shokoku taki meguri (諸国瀧廻り) (A Tour of the Waterfalls of the Provinces) by the master Katsushika Hokusai. Unlike Ryūsai's design, however, the eight prints in the series all feature prominent waterfalls identified by name and belong to the landscape subgenre known as 名所絵 (meisho-e) (pictures of famous sites). Also different is the fact that in Hokusai's scenes the scale and power of the waterfall is typically emphasized by the placement of small human figures within the scene.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: Explain the Related works of this artwork, Three Travellers before a Waterfall.

The popularity of waterfalls within ukiyo-e design was given a distinct boost by a series of prints dating to around 1832 entitled  Shokoku taki meguri (諸国瀧廻り) (A Tour of the Waterfalls of the Provinces) by the master Katsushika Hokusai. Unlike Ryūsai's design, however, the eight prints in the series all feature prominent waterfalls identified by name and belong to the landscape subgenre known as 名所絵 (meisho-e) (pictures of famous sites). Also different is the fact that in Hokusai's scenes the scale and power of the waterfall is typically emphasized by the placement of small human figures within the scene.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: How does Three Travellers before a Waterfall explain its Related works?

The popularity of waterfalls within ukiyo-e design was given a distinct boost by a series of prints dating to around 1832 entitled  Shokoku taki meguri (諸国瀧廻り) (A Tour of the Waterfalls of the Provinces) by the master Katsushika Hokusai. Unlike Ryūsai's design, however, the eight prints in the series all feature prominent waterfalls identified by name and belong to the landscape subgenre known as 名所絵 (meisho-e) (pictures of famous sites). Also different is the fact that in Hokusai's scenes the scale and power of the waterfall is typically emphasized by the placement of small human figures within the scene.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Three Travellers before a Waterfall

Prompt: In Three Travellers before a Waterfall, how is the Related works discussed?

The popularity of waterfalls within ukiyo-e design was given a distinct boost by a series of prints dating to around 1832 entitled  Shokoku taki meguri (諸国瀧廻り) (A Tour of the Waterfalls of the Provinces) by the master Katsushika Hokusai. Unlike Ryūsai's design, however, the eight prints in the series all feature prominent waterfalls identified by name and belong to the landscape subgenre known as 名所絵 (meisho-e) (pictures of famous sites). Also different is the fact that in Hokusai's scenes the scale and power of the waterfall is typically emphasized by the placement of small human figures within the scene.

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

File:Two Travellers by a Waterfall (Ryusai Shigeharu) signature detail.jpg

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

Two Actors in Samurai Roles (Gosotei Hirosada)

Three Travellers by a Waterfall (Ryusai Shigeharu) signature detail


Composition with Grid No. 1

Prompt: Focus on Composition with Grid No. 1 and explain the abstract.

Composition with Grid No. 1 or Composition in Grey and Ochre is a 1918 painting by the Dutch artist Piet Mondrian. It is currently in the collection of the Museum of Fine Arts, Houston.

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: Explain the abstract of this artwork, Composition with Grid No. 1.

Composition with Grid No. 1 or Composition in Grey and Ochre is a 1918 painting by the Dutch artist Piet Mondrian. It is currently in the collection of the Museum of Fine Arts, Houston.

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: How does Composition with Grid No. 1 explain its abstract?

Composition with Grid No. 1 or Composition in Grey and Ochre is a 1918 painting by the Dutch artist Piet Mondrian. It is currently in the collection of the Museum of Fine Arts, Houston.

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: In Composition with Grid No. 1, how is the abstract discussed?

Composition with Grid No. 1 or Composition in Grey and Ochre is a 1918 painting by the Dutch artist Piet Mondrian. It is currently in the collection of the Museum of Fine Arts, Houston.

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: Focus on Composition with Grid No. 1 and explain the Background.

In 1917, Mondrian was one of the founding members of the Dutch art group De Stijl ("The Style"), an abstract movement which sought unification of material and spiritual worlds through pure geometry. Composition with Grid No. 1, painted in 1918, was an early painting to adopt this style. The Dutch art historian Carel Blotkamp hypothesizes that this painting is one of Mondrian's first to use a modular or grid-like system. Later X-ray photography corroborates this, revealing that Mondrian sketched an underlying grid pattern of uniform rectangles based on the golden ratio. Mondrian continued to use grid patterns in his work, even in his final compositions Broadway Boogie Woogie and Victory Boogie Woogie.

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: Explain the Background of this artwork, Composition with Grid No. 1.

In 1917, Mondrian was one of the founding members of the Dutch art group De Stijl ("The Style"), an abstract movement which sought unification of material and spiritual worlds through pure geometry. Composition with Grid No. 1, painted in 1918, was an early painting to adopt this style. The Dutch art historian Carel Blotkamp hypothesizes that this painting is one of Mondrian's first to use a modular or grid-like system. Later X-ray photography corroborates this, revealing that Mondrian sketched an underlying grid pattern of uniform rectangles based on the golden ratio. Mondrian continued to use grid patterns in his work, even in his final compositions Broadway Boogie Woogie and Victory Boogie Woogie.

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: How does Composition with Grid No. 1 explain its Background?

In 1917, Mondrian was one of the founding members of the Dutch art group De Stijl ("The Style"), an abstract movement which sought unification of material and spiritual worlds through pure geometry. Composition with Grid No. 1, painted in 1918, was an early painting to adopt this style. The Dutch art historian Carel Blotkamp hypothesizes that this painting is one of Mondrian's first to use a modular or grid-like system. Later X-ray photography corroborates this, revealing that Mondrian sketched an underlying grid pattern of uniform rectangles based on the golden ratio. Mondrian continued to use grid patterns in his work, even in his final compositions Broadway Boogie Woogie and Victory Boogie Woogie.

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: In Composition with Grid No. 1, how is the Background discussed?

In 1917, Mondrian was one of the founding members of the Dutch art group De Stijl ("The Style"), an abstract movement which sought unification of material and spiritual worlds through pure geometry. Composition with Grid No. 1, painted in 1918, was an early painting to adopt this style. The Dutch art historian Carel Blotkamp hypothesizes that this painting is one of Mondrian's first to use a modular or grid-like system. Later X-ray photography corroborates this, revealing that Mondrian sketched an underlying grid pattern of uniform rectangles based on the golden ratio. Mondrian continued to use grid patterns in his work, even in his final compositions Broadway Boogie Woogie and Victory Boogie Woogie.

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: Focus on Composition with Grid No. 1 and explain the Description.

Mondrian drew the underlying modular system onto the canvas in charcoal. He then used dark grey oil paints to delineate rectangular areas of varying sizes on this grid. Thus, the painting's visible rectangles are superimposed on the underlying grid, giving what the Museum of Fine Arts, Houston, describes as "an exceptional harmony of proportion". These rectangles were then painted in gray and ochre colors.Mondrian signed and dated the painting in the lower left with the inscription "PM 18".

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: Explain the Description of this artwork, Composition with Grid No. 1.

Mondrian drew the underlying modular system onto the canvas in charcoal. He then used dark grey oil paints to delineate rectangular areas of varying sizes on this grid. Thus, the painting's visible rectangles are superimposed on the underlying grid, giving what the Museum of Fine Arts, Houston, describes as "an exceptional harmony of proportion". These rectangles were then painted in gray and ochre colors.Mondrian signed and dated the painting in the lower left with the inscription "PM 18".

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: How does Composition with Grid No. 1 explain its Description?

Mondrian drew the underlying modular system onto the canvas in charcoal. He then used dark grey oil paints to delineate rectangular areas of varying sizes on this grid. Thus, the painting's visible rectangles are superimposed on the underlying grid, giving what the Museum of Fine Arts, Houston, describes as "an exceptional harmony of proportion". These rectangles were then painted in gray and ochre colors.Mondrian signed and dated the painting in the lower left with the inscription "PM 18".

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: In Composition with Grid No. 1, how is the Description discussed?

Mondrian drew the underlying modular system onto the canvas in charcoal. He then used dark grey oil paints to delineate rectangular areas of varying sizes on this grid. Thus, the painting's visible rectangles are superimposed on the underlying grid, giving what the Museum of Fine Arts, Houston, describes as "an exceptional harmony of proportion". These rectangles were then painted in gray and ochre colors.Mondrian signed and dated the painting in the lower left with the inscription "PM 18".

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: Focus on Composition with Grid No. 1 and explain the Exhibition and provenance.

The painting was on display in an exhibition organized by the Hollandsche Kunstenaarskring ("Dutch Artists' Circle") in the Stedelijk Museum in Amsterdam in 1919. In 1960, the painting was purchased by Mr. and Mrs. Pierre Schlumberger before being donated to the Museum of Fine Arts, Houston, in 1963, where it is currently housed.

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: Explain the Exhibition and provenance of this artwork, Composition with Grid No. 1.

The painting was on display in an exhibition organized by the Hollandsche Kunstenaarskring ("Dutch Artists' Circle") in the Stedelijk Museum in Amsterdam in 1919. In 1960, the painting was purchased by Mr. and Mrs. Pierre Schlumberger before being donated to the Museum of Fine Arts, Houston, in 1963, where it is currently housed.

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: How does Composition with Grid No. 1 explain its Exhibition and provenance?

The painting was on display in an exhibition organized by the Hollandsche Kunstenaarskring ("Dutch Artists' Circle") in the Stedelijk Museum in Amsterdam in 1919. In 1960, the painting was purchased by Mr. and Mrs. Pierre Schlumberger before being donated to the Museum of Fine Arts, Houston, in 1963, where it is currently housed.

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: In Composition with Grid No. 1, how is the Exhibition and provenance discussed?

The painting was on display in an exhibition organized by the Hollandsche Kunstenaarskring ("Dutch Artists' Circle") in the Stedelijk Museum in Amsterdam in 1919. In 1960, the painting was purchased by Mr. and Mrs. Pierre Schlumberger before being donated to the Museum of Fine Arts, Houston, in 1963, where it is currently housed.

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: Focus on Composition with Grid No. 1 and explain the In research.

A paper by Li et al., published in 2013, sought to model human aesthetic judgement. One of the paintings selected for the experiments was Mondrian's Composition with Grid No. 1, alongside the artist's Composition No. 10 (1939–1942) and Composition with Yellow, Blue, and Red (1937–1942).

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: Explain the In research of this artwork, Composition with Grid No. 1.

A paper by Li et al., published in 2013, sought to model human aesthetic judgement. One of the paintings selected for the experiments was Mondrian's Composition with Grid No. 1, alongside the artist's Composition No. 10 (1939–1942) and Composition with Yellow, Blue, and Red (1937–1942).

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: How does Composition with Grid No. 1 explain its In research?

A paper by Li et al., published in 2013, sought to model human aesthetic judgement. One of the paintings selected for the experiments was Mondrian's Composition with Grid No. 1, alongside the artist's Composition No. 10 (1939–1942) and Composition with Yellow, Blue, and Red (1937–1942).

Category:Paintings in the Museum of Fine Arts, Houston


Composition with Grid No. 1

Prompt: In Composition with Grid No. 1, how is the In research discussed?

A paper by Li et al., published in 2013, sought to model human aesthetic judgement. One of the paintings selected for the experiments was Mondrian's Composition with Grid No. 1, alongside the artist's Composition No. 10 (1939–1942) and Composition with Yellow, Blue, and Red (1937–1942).

Category:Paintings in the Museum of Fine Arts, Houston


Prompt: Focus on The Painter's Daughters Chasing a Butterfly and explain the abstract.

The Painter's Daughters Chasing a Butterfly is a painting by Thomas Gainsborough. It was created sometime in 1756 and is now in the collection of the National Gallery in London.

Category:Paintings by Thomas Gainsborough

Category:Paintings in the National Gallery, London


Prompt: Explain the abstract of this artwork, The Painter's Daughters Chasing a Butterfly.

The Painter's Daughters Chasing a Butterfly is a painting by Thomas Gainsborough. It was created sometime in 1756 and is now in the collection of the National Gallery in London.

Category:Paintings by Thomas Gainsborough

Category:Paintings in the National Gallery, London


Prompt: How does The Painter's Daughters Chasing a Butterfly explain its abstract?

The Painter's Daughters Chasing a Butterfly is a painting by Thomas Gainsborough. It was created sometime in 1756 and is now in the collection of the National Gallery in London.

Category:Paintings by Thomas Gainsborough

Category:Paintings in the National Gallery, London


Prompt: In The Painter's Daughters Chasing a Butterfly, how is the abstract discussed?

The Painter's Daughters Chasing a Butterfly is a painting by Thomas Gainsborough. It was created sometime in 1756 and is now in the collection of the National Gallery in London.

Category:Paintings by Thomas Gainsborough

Category:Paintings in the National Gallery, London


Prompt: Focus on The Painter's Daughters Chasing a Butterfly and explain the Analysis.

The painting depicts Mary ("Molly", 31 January 1750 - 2 July 1826) and Margaret ("Peggy", 19 August 1751 - 18 December 1820) Gainsborough engaging in the titular activity. The younger daughter reaching to grab the butterfly represents the fragility of life while the elder daughter's apprehensive facial expression reveals her edging towards maturity. The Painter's Daughters Chasing a Butterfly proved to be a pivotal moment in Gainsborough's artistry as Jonathan Jones writes that "[it] was one of the first works in which Gainsborough developed from his early, Dutch-realist manner to the exuberant scale of his later portraits".

Category:Paintings by Thomas Gainsborough

Category:Paintings in the National Gallery, London


Prompt: Explain the Analysis of this artwork, The Painter's Daughters Chasing a Butterfly.

The painting depicts Mary ("Molly", 31 January 1750 - 2 July 1826) and Margaret ("Peggy", 19 August 1751 - 18 December 1820) Gainsborough engaging in the titular activity. The younger daughter reaching to grab the butterfly represents the fragility of life while the elder daughter's apprehensive facial expression reveals her edging towards maturity. The Painter's Daughters Chasing a Butterfly proved to be a pivotal moment in Gainsborough's artistry as Jonathan Jones writes that "[it] was one of the first works in which Gainsborough developed from his early, Dutch-realist manner to the exuberant scale of his later portraits".

Category:Paintings by Thomas Gainsborough

Category:Paintings in the National Gallery, London


Prompt: How does The Painter's Daughters Chasing a Butterfly explain its Analysis?

The painting depicts Mary ("Molly", 31 January 1750 - 2 July 1826) and Margaret ("Peggy", 19 August 1751 - 18 December 1820) Gainsborough engaging in the titular activity. The younger daughter reaching to grab the butterfly represents the fragility of life while the elder daughter's apprehensive facial expression reveals her edging towards maturity. The Painter's Daughters Chasing a Butterfly proved to be a pivotal moment in Gainsborough's artistry as Jonathan Jones writes that "[it] was one of the first works in which Gainsborough developed from his early, Dutch-realist manner to the exuberant scale of his later portraits".

Category:Paintings by Thomas Gainsborough

Category:Paintings in the National Gallery, London


Prompt: In The Painter's Daughters Chasing a Butterfly, how is the Analysis discussed?

The painting depicts Mary ("Molly", 31 January 1750 - 2 July 1826) and Margaret ("Peggy", 19 August 1751 - 18 December 1820) Gainsborough engaging in the titular activity. The younger daughter reaching to grab the butterfly represents the fragility of life while the elder daughter's apprehensive facial expression reveals her edging towards maturity. The Painter's Daughters Chasing a Butterfly proved to be a pivotal moment in Gainsborough's artistry as Jonathan Jones writes that "[it] was one of the first works in which Gainsborough developed from his early, Dutch-realist manner to the exuberant scale of his later portraits".

Category:Paintings by Thomas Gainsborough

Category:Paintings in the National Gallery, London


Fontevraud Gradual

Prompt: Focus on Fontevraud Gradual and explain the abstract.

The Fontevraud Gradual (often known as the Gradual of Eleanor of Brittany) is anantiphonary or gradual of the mid-13th century, owned by Eleanor of Brittany (d. 1342), abbess of Fontevraud Abbey, and bequeathed to the abbey on her death. It contains Gregorian chant as well as three early polyphonic pieces. It is also noted for its miniatures in the form of historiated initials.The manuscript is kept at the Limoges municipal library (Limoges MS 2) and is not publicly accessible. A digital version was made accessible online in 2019.


Fontevraud Gradual

Prompt: Explain the abstract of this artwork, Fontevraud Gradual.

The Fontevraud Gradual (often known as the Gradual of Eleanor of Brittany) is anantiphonary or gradual of the mid-13th century, owned by Eleanor of Brittany (d. 1342), abbess of Fontevraud Abbey, and bequeathed to the abbey on her death. It contains Gregorian chant as well as three early polyphonic pieces. It is also noted for its miniatures in the form of historiated initials.The manuscript is kept at the Limoges municipal library (Limoges MS 2) and is not publicly accessible. A digital version was made accessible online in 2019.