The Battle of Alexander at Issus

Prompt: Focus on The Battle of Alexander at Issus and explain the Legacy.

The Battle of Alexander at Issus remained part of the royal collection of the Dukes of Bavaria for centuries. By the late 18th century, it was regularly featured in public galleries at the Schleissheim Palace. The painting was one of 72 taken to Paris in 1800 by the invading armies of Napoleon I (1769–1821), who was a noted admirer of Alexander the Great. The Louvre held it until 1804, when Napoleon declared himself Emperor of France and took it for his own use. When the Prussians captured the Château de Saint-Cloud in 1814 as part of the War of the Sixth Coalition, they supposedly found the painting hanging in Napoleon's bathroom.The Battle of Alexander at Issus and 26 others taken in the 1800 invasion were subsequently restored to the King of Bavaria in 1815. Five of the paintings in William IV's original set of eight – including The Battle of Alexander at Issus – later passed from the royal collection to the Alte Pinakothek art museum in Munich, Germany, where they remain; the other three are in the National Museum of Fine Arts in Stockholm, having been looted by the Swedish army in the Thirty Years War of 1618–1648. Susannah and the Elders is the only other work by Altdorfer in the Alte Pinakothek.Contextually, the painting forms part of the Northern Renaissance, a resurgence of classical humanism and culture in northern Europe during the 15th and 16th centuries. The Renaissance induced a new kind of social individualism which Altdorfer expressed through the heroic emphasis on Alexander and Darius, and which is reflected in the specifics of the painting's commission and by the subjects of its companion pieces. According to Rose-Marie Hagen, "During the Renaissance people no longer saw themselves solely as members of a social group, as the citizens of a town, or as sinners before God in whose eyes all were equal. They had become aware of the unique qualities that distinguished one person from another. Unlike the Middle Ages, the Renaissance celebrated the individual. Altdorfer may have painted row after row of apparently identical warriors, but the spectators themselves would identify with Alexander and Darius, figures who had names, whose significance was indicated by the cord which hung down from the tablet above them."Altdorfer was not only a pioneer of landscape, but also a practitioner of early incarnations of the Romanticism and expressionism which impacted the arts so greatly in the nineteenth and twentieth centuries. Kenneth Clark writes of Altdorfer and contemporaries Grünewald and Bosch, "They are what we now call 'expressionist' artists, a term which is not as worthless as it sounds, because, in fact, the symbols of expressionism are remarkably consistent, and we find in the work of these early 16th-century landscape painters not only the same spirit but the same shapes and iconographical motives which recur in the work of such recent expressionists as van Gogh, Max Ernst, Graham Sutherland and Walt Disney." According to art critic Pia F. Cuneo, "Altdorfer's construction of landscape on a cosmic scale" in the Battle of Alexander at Issus, and his "spiritual and aesthetic affinities with Romanticism and Modern art (in particular, German Expressionism)", "have been especially singled out for praise".The Battle of Alexander at Issus is typically considered to be Altdorfer's masterpiece. Cuneo states that the painting is usually "considered in splendid isolation from its fifteen other companion pieces, based on the assumption that it either metonymically stands in for the entire cycle, or that its perceived aesthetic predominance merits exclusive focus." German writer Karl Wilhelm Friedrich Schlegel (1772–1829) was one of many who saw the painting in the Louvre and marvelled, calling it a "small painted Iliad". Reinhart Koselleck comments that Altdorfer's depiction of the thousands of soldiers was executed with "a mastery previously unknown", and Kathleen Davis describes the painting as "epochal in every sense".

File:Battle of Issus - initial deployment.svg

alt=A painting showing an elaborate and fanciful palace set in a landscape of forest and mountains. The forecourt of the palace is bustling with people. Outside the palace, near a fountain sits Susannah attended by handmaids who wash her feet and comb her hair. Two old courtiers spy on her from the dense undergrowth.

Detail of the fictitious mountain in the painting's centre

Category:Collection of the Alte Pinakothek

Detail of Alexander the Great from the [[Alexander Mosaic

commons:File:Altdorfer, Albrecht - Donaulandschaft mit Schloß Wörth.jpg

alt=A panel from an altarpiece by Grünewald. On the right, the Virgin Mary gazes at the Christ Child while above her, in a sky blazing with light, God is seated on a throne surrounded by the Hosts of Heaven. To the left an orchestra of cherubim plays in a Gothic loggia.

The initial dispositions at the Battle of Issus. The Pinarus River separates the belligerents, and Issus is {{convert

alt=A military diagram. A river runs through the lower-left diagonal. On one side are the Persians, with the Orientals and Greek mercenaries, and on the other are the Macedonians, with Alexander and Parmenion. The gradient of the nearby mountains generally decreases from the top right, till the shores of the gulf in the bottom left.

alt=A large mosaic depicting an array of soldiers on horseback doing battle. Parts of it have been damaged or lost to time.

alt=Small figures of women on the battlefield, all with long red hair and all wearing feathered toques

''Susannah and the Elders'' (1526), the only other painting by Altdorfer in the [[Alte Pinakothek

Detail of soldiers from both armies. Reinhart Koselleck comments that the Persians resemble the 16th-century Turks "from their feet to their turbans."

Matthias Grünewald's ''The Virgin and Child with the Heavenly Host'' (c. 1515)

Alexander the Great#Death and succession

alt=A miniature painting showing four brightly clothed men carrying a large banner which is painted with a complex battle scene

alt=An island, and a cityscape featuring church towers

mi}} to the north. Cavalry is concentrated on the shores of the Gulf of İskenderun (or Gulf of Issus) on both sides. Alexander devotes himself to a right approach with his Companion cavalry, having unseated the Persian foothill defence.

alt=A steep mountain, upon which are built fortifications

alt= A painting of St George slaying the dragon set in a dense forest in which the figures are dwarfed by the trees. A distant landscape is seen through a break.

Detail of the oversized island of Cyprus and what is probably the city of Tarsus

A miniature from ''Triumphal Procession'' (1512–1516)

File:Horatius Cocles Stopping King Porsenna's Army outside Rome (Ludwig Refinger) - Nationalmuseum - 17244.tif

alt=A blazing sun above blue-tinged mountains and water

The Alexander Mosaic, as seen in the Naples National Archaeological Museum

Category:Paintings by Albrecht Altdorfer

List of landscapes by Albrecht Altdorfer


The Battle of Alexander at Issus

Prompt: Explain the Legacy of this artwork, The Battle of Alexander at Issus.

The Battle of Alexander at Issus remained part of the royal collection of the Dukes of Bavaria for centuries. By the late 18th century, it was regularly featured in public galleries at the Schleissheim Palace. The painting was one of 72 taken to Paris in 1800 by the invading armies of Napoleon I (1769–1821), who was a noted admirer of Alexander the Great. The Louvre held it until 1804, when Napoleon declared himself Emperor of France and took it for his own use. When the Prussians captured the Château de Saint-Cloud in 1814 as part of the War of the Sixth Coalition, they supposedly found the painting hanging in Napoleon's bathroom.The Battle of Alexander at Issus and 26 others taken in the 1800 invasion were subsequently restored to the King of Bavaria in 1815. Five of the paintings in William IV's original set of eight – including The Battle of Alexander at Issus – later passed from the royal collection to the Alte Pinakothek art museum in Munich, Germany, where they remain; the other three are in the National Museum of Fine Arts in Stockholm, having been looted by the Swedish army in the Thirty Years War of 1618–1648. Susannah and the Elders is the only other work by Altdorfer in the Alte Pinakothek.Contextually, the painting forms part of the Northern Renaissance, a resurgence of classical humanism and culture in northern Europe during the 15th and 16th centuries. The Renaissance induced a new kind of social individualism which Altdorfer expressed through the heroic emphasis on Alexander and Darius, and which is reflected in the specifics of the painting's commission and by the subjects of its companion pieces. According to Rose-Marie Hagen, "During the Renaissance people no longer saw themselves solely as members of a social group, as the citizens of a town, or as sinners before God in whose eyes all were equal. They had become aware of the unique qualities that distinguished one person from another. Unlike the Middle Ages, the Renaissance celebrated the individual. Altdorfer may have painted row after row of apparently identical warriors, but the spectators themselves would identify with Alexander and Darius, figures who had names, whose significance was indicated by the cord which hung down from the tablet above them."Altdorfer was not only a pioneer of landscape, but also a practitioner of early incarnations of the Romanticism and expressionism which impacted the arts so greatly in the nineteenth and twentieth centuries. Kenneth Clark writes of Altdorfer and contemporaries Grünewald and Bosch, "They are what we now call 'expressionist' artists, a term which is not as worthless as it sounds, because, in fact, the symbols of expressionism are remarkably consistent, and we find in the work of these early 16th-century landscape painters not only the same spirit but the same shapes and iconographical motives which recur in the work of such recent expressionists as van Gogh, Max Ernst, Graham Sutherland and Walt Disney." According to art critic Pia F. Cuneo, "Altdorfer's construction of landscape on a cosmic scale" in the Battle of Alexander at Issus, and his "spiritual and aesthetic affinities with Romanticism and Modern art (in particular, German Expressionism)", "have been especially singled out for praise".The Battle of Alexander at Issus is typically considered to be Altdorfer's masterpiece. Cuneo states that the painting is usually "considered in splendid isolation from its fifteen other companion pieces, based on the assumption that it either metonymically stands in for the entire cycle, or that its perceived aesthetic predominance merits exclusive focus." German writer Karl Wilhelm Friedrich Schlegel (1772–1829) was one of many who saw the painting in the Louvre and marvelled, calling it a "small painted Iliad". Reinhart Koselleck comments that Altdorfer's depiction of the thousands of soldiers was executed with "a mastery previously unknown", and Kathleen Davis describes the painting as "epochal in every sense".

File:Battle of Issus - initial deployment.svg

alt=A painting showing an elaborate and fanciful palace set in a landscape of forest and mountains. The forecourt of the palace is bustling with people. Outside the palace, near a fountain sits Susannah attended by handmaids who wash her feet and comb her hair. Two old courtiers spy on her from the dense undergrowth.

Detail of the fictitious mountain in the painting's centre

Category:Collection of the Alte Pinakothek

Detail of Alexander the Great from the [[Alexander Mosaic

commons:File:Altdorfer, Albrecht - Donaulandschaft mit Schloß Wörth.jpg

alt=A panel from an altarpiece by Grünewald. On the right, the Virgin Mary gazes at the Christ Child while above her, in a sky blazing with light, God is seated on a throne surrounded by the Hosts of Heaven. To the left an orchestra of cherubim plays in a Gothic loggia.

The initial dispositions at the Battle of Issus. The Pinarus River separates the belligerents, and Issus is {{convert

alt=A military diagram. A river runs through the lower-left diagonal. On one side are the Persians, with the Orientals and Greek mercenaries, and on the other are the Macedonians, with Alexander and Parmenion. The gradient of the nearby mountains generally decreases from the top right, till the shores of the gulf in the bottom left.

alt=A large mosaic depicting an array of soldiers on horseback doing battle. Parts of it have been damaged or lost to time.

alt=Small figures of women on the battlefield, all with long red hair and all wearing feathered toques

''Susannah and the Elders'' (1526), the only other painting by Altdorfer in the [[Alte Pinakothek

Detail of soldiers from both armies. Reinhart Koselleck comments that the Persians resemble the 16th-century Turks "from their feet to their turbans."

Matthias Grünewald's ''The Virgin and Child with the Heavenly Host'' (c. 1515)

Alexander the Great#Death and succession

alt=A miniature painting showing four brightly clothed men carrying a large banner which is painted with a complex battle scene

alt=An island, and a cityscape featuring church towers

mi}} to the north. Cavalry is concentrated on the shores of the Gulf of İskenderun (or Gulf of Issus) on both sides. Alexander devotes himself to a right approach with his Companion cavalry, having unseated the Persian foothill defence.

alt=A steep mountain, upon which are built fortifications

alt= A painting of St George slaying the dragon set in a dense forest in which the figures are dwarfed by the trees. A distant landscape is seen through a break.

Detail of the oversized island of Cyprus and what is probably the city of Tarsus

A miniature from ''Triumphal Procession'' (1512–1516)

File:Horatius Cocles Stopping King Porsenna's Army outside Rome (Ludwig Refinger) - Nationalmuseum - 17244.tif

alt=A blazing sun above blue-tinged mountains and water

The Alexander Mosaic, as seen in the Naples National Archaeological Museum

Category:Paintings by Albrecht Altdorfer

List of landscapes by Albrecht Altdorfer


The Battle of Alexander at Issus

Prompt: How does The Battle of Alexander at Issus explain its Legacy?

The Battle of Alexander at Issus remained part of the royal collection of the Dukes of Bavaria for centuries. By the late 18th century, it was regularly featured in public galleries at the Schleissheim Palace. The painting was one of 72 taken to Paris in 1800 by the invading armies of Napoleon I (1769–1821), who was a noted admirer of Alexander the Great. The Louvre held it until 1804, when Napoleon declared himself Emperor of France and took it for his own use. When the Prussians captured the Château de Saint-Cloud in 1814 as part of the War of the Sixth Coalition, they supposedly found the painting hanging in Napoleon's bathroom.The Battle of Alexander at Issus and 26 others taken in the 1800 invasion were subsequently restored to the King of Bavaria in 1815. Five of the paintings in William IV's original set of eight – including The Battle of Alexander at Issus – later passed from the royal collection to the Alte Pinakothek art museum in Munich, Germany, where they remain; the other three are in the National Museum of Fine Arts in Stockholm, having been looted by the Swedish army in the Thirty Years War of 1618–1648. Susannah and the Elders is the only other work by Altdorfer in the Alte Pinakothek.Contextually, the painting forms part of the Northern Renaissance, a resurgence of classical humanism and culture in northern Europe during the 15th and 16th centuries. The Renaissance induced a new kind of social individualism which Altdorfer expressed through the heroic emphasis on Alexander and Darius, and which is reflected in the specifics of the painting's commission and by the subjects of its companion pieces. According to Rose-Marie Hagen, "During the Renaissance people no longer saw themselves solely as members of a social group, as the citizens of a town, or as sinners before God in whose eyes all were equal. They had become aware of the unique qualities that distinguished one person from another. Unlike the Middle Ages, the Renaissance celebrated the individual. Altdorfer may have painted row after row of apparently identical warriors, but the spectators themselves would identify with Alexander and Darius, figures who had names, whose significance was indicated by the cord which hung down from the tablet above them."Altdorfer was not only a pioneer of landscape, but also a practitioner of early incarnations of the Romanticism and expressionism which impacted the arts so greatly in the nineteenth and twentieth centuries. Kenneth Clark writes of Altdorfer and contemporaries Grünewald and Bosch, "They are what we now call 'expressionist' artists, a term which is not as worthless as it sounds, because, in fact, the symbols of expressionism are remarkably consistent, and we find in the work of these early 16th-century landscape painters not only the same spirit but the same shapes and iconographical motives which recur in the work of such recent expressionists as van Gogh, Max Ernst, Graham Sutherland and Walt Disney." According to art critic Pia F. Cuneo, "Altdorfer's construction of landscape on a cosmic scale" in the Battle of Alexander at Issus, and his "spiritual and aesthetic affinities with Romanticism and Modern art (in particular, German Expressionism)", "have been especially singled out for praise".The Battle of Alexander at Issus is typically considered to be Altdorfer's masterpiece. Cuneo states that the painting is usually "considered in splendid isolation from its fifteen other companion pieces, based on the assumption that it either metonymically stands in for the entire cycle, or that its perceived aesthetic predominance merits exclusive focus." German writer Karl Wilhelm Friedrich Schlegel (1772–1829) was one of many who saw the painting in the Louvre and marvelled, calling it a "small painted Iliad". Reinhart Koselleck comments that Altdorfer's depiction of the thousands of soldiers was executed with "a mastery previously unknown", and Kathleen Davis describes the painting as "epochal in every sense".

File:Battle of Issus - initial deployment.svg

alt=A painting showing an elaborate and fanciful palace set in a landscape of forest and mountains. The forecourt of the palace is bustling with people. Outside the palace, near a fountain sits Susannah attended by handmaids who wash her feet and comb her hair. Two old courtiers spy on her from the dense undergrowth.

Detail of the fictitious mountain in the painting's centre

Category:Collection of the Alte Pinakothek

Detail of Alexander the Great from the [[Alexander Mosaic

commons:File:Altdorfer, Albrecht - Donaulandschaft mit Schloß Wörth.jpg

alt=A panel from an altarpiece by Grünewald. On the right, the Virgin Mary gazes at the Christ Child while above her, in a sky blazing with light, God is seated on a throne surrounded by the Hosts of Heaven. To the left an orchestra of cherubim plays in a Gothic loggia.

The initial dispositions at the Battle of Issus. The Pinarus River separates the belligerents, and Issus is {{convert

alt=A military diagram. A river runs through the lower-left diagonal. On one side are the Persians, with the Orientals and Greek mercenaries, and on the other are the Macedonians, with Alexander and Parmenion. The gradient of the nearby mountains generally decreases from the top right, till the shores of the gulf in the bottom left.

alt=A large mosaic depicting an array of soldiers on horseback doing battle. Parts of it have been damaged or lost to time.

alt=Small figures of women on the battlefield, all with long red hair and all wearing feathered toques

''Susannah and the Elders'' (1526), the only other painting by Altdorfer in the [[Alte Pinakothek

Detail of soldiers from both armies. Reinhart Koselleck comments that the Persians resemble the 16th-century Turks "from their feet to their turbans."

Matthias Grünewald's ''The Virgin and Child with the Heavenly Host'' (c. 1515)

Alexander the Great#Death and succession

alt=A miniature painting showing four brightly clothed men carrying a large banner which is painted with a complex battle scene

alt=An island, and a cityscape featuring church towers

mi}} to the north. Cavalry is concentrated on the shores of the Gulf of İskenderun (or Gulf of Issus) on both sides. Alexander devotes himself to a right approach with his Companion cavalry, having unseated the Persian foothill defence.

alt=A steep mountain, upon which are built fortifications

alt= A painting of St George slaying the dragon set in a dense forest in which the figures are dwarfed by the trees. A distant landscape is seen through a break.

Detail of the oversized island of Cyprus and what is probably the city of Tarsus

A miniature from ''Triumphal Procession'' (1512–1516)

File:Horatius Cocles Stopping King Porsenna's Army outside Rome (Ludwig Refinger) - Nationalmuseum - 17244.tif

alt=A blazing sun above blue-tinged mountains and water

The Alexander Mosaic, as seen in the Naples National Archaeological Museum

Category:Paintings by Albrecht Altdorfer

List of landscapes by Albrecht Altdorfer


The Battle of Alexander at Issus

Prompt: In The Battle of Alexander at Issus, how is the Legacy discussed?

The Battle of Alexander at Issus remained part of the royal collection of the Dukes of Bavaria for centuries. By the late 18th century, it was regularly featured in public galleries at the Schleissheim Palace. The painting was one of 72 taken to Paris in 1800 by the invading armies of Napoleon I (1769–1821), who was a noted admirer of Alexander the Great. The Louvre held it until 1804, when Napoleon declared himself Emperor of France and took it for his own use. When the Prussians captured the Château de Saint-Cloud in 1814 as part of the War of the Sixth Coalition, they supposedly found the painting hanging in Napoleon's bathroom.The Battle of Alexander at Issus and 26 others taken in the 1800 invasion were subsequently restored to the King of Bavaria in 1815. Five of the paintings in William IV's original set of eight – including The Battle of Alexander at Issus – later passed from the royal collection to the Alte Pinakothek art museum in Munich, Germany, where they remain; the other three are in the National Museum of Fine Arts in Stockholm, having been looted by the Swedish army in the Thirty Years War of 1618–1648. Susannah and the Elders is the only other work by Altdorfer in the Alte Pinakothek.Contextually, the painting forms part of the Northern Renaissance, a resurgence of classical humanism and culture in northern Europe during the 15th and 16th centuries. The Renaissance induced a new kind of social individualism which Altdorfer expressed through the heroic emphasis on Alexander and Darius, and which is reflected in the specifics of the painting's commission and by the subjects of its companion pieces. According to Rose-Marie Hagen, "During the Renaissance people no longer saw themselves solely as members of a social group, as the citizens of a town, or as sinners before God in whose eyes all were equal. They had become aware of the unique qualities that distinguished one person from another. Unlike the Middle Ages, the Renaissance celebrated the individual. Altdorfer may have painted row after row of apparently identical warriors, but the spectators themselves would identify with Alexander and Darius, figures who had names, whose significance was indicated by the cord which hung down from the tablet above them."Altdorfer was not only a pioneer of landscape, but also a practitioner of early incarnations of the Romanticism and expressionism which impacted the arts so greatly in the nineteenth and twentieth centuries. Kenneth Clark writes of Altdorfer and contemporaries Grünewald and Bosch, "They are what we now call 'expressionist' artists, a term which is not as worthless as it sounds, because, in fact, the symbols of expressionism are remarkably consistent, and we find in the work of these early 16th-century landscape painters not only the same spirit but the same shapes and iconographical motives which recur in the work of such recent expressionists as van Gogh, Max Ernst, Graham Sutherland and Walt Disney." According to art critic Pia F. Cuneo, "Altdorfer's construction of landscape on a cosmic scale" in the Battle of Alexander at Issus, and his "spiritual and aesthetic affinities with Romanticism and Modern art (in particular, German Expressionism)", "have been especially singled out for praise".The Battle of Alexander at Issus is typically considered to be Altdorfer's masterpiece. Cuneo states that the painting is usually "considered in splendid isolation from its fifteen other companion pieces, based on the assumption that it either metonymically stands in for the entire cycle, or that its perceived aesthetic predominance merits exclusive focus." German writer Karl Wilhelm Friedrich Schlegel (1772–1829) was one of many who saw the painting in the Louvre and marvelled, calling it a "small painted Iliad". Reinhart Koselleck comments that Altdorfer's depiction of the thousands of soldiers was executed with "a mastery previously unknown", and Kathleen Davis describes the painting as "epochal in every sense".

File:Battle of Issus - initial deployment.svg

alt=A painting showing an elaborate and fanciful palace set in a landscape of forest and mountains. The forecourt of the palace is bustling with people. Outside the palace, near a fountain sits Susannah attended by handmaids who wash her feet and comb her hair. Two old courtiers spy on her from the dense undergrowth.

Detail of the fictitious mountain in the painting's centre

Category:Collection of the Alte Pinakothek

Detail of Alexander the Great from the [[Alexander Mosaic

commons:File:Altdorfer, Albrecht - Donaulandschaft mit Schloß Wörth.jpg

alt=A panel from an altarpiece by Grünewald. On the right, the Virgin Mary gazes at the Christ Child while above her, in a sky blazing with light, God is seated on a throne surrounded by the Hosts of Heaven. To the left an orchestra of cherubim plays in a Gothic loggia.

The initial dispositions at the Battle of Issus. The Pinarus River separates the belligerents, and Issus is {{convert

alt=A military diagram. A river runs through the lower-left diagonal. On one side are the Persians, with the Orientals and Greek mercenaries, and on the other are the Macedonians, with Alexander and Parmenion. The gradient of the nearby mountains generally decreases from the top right, till the shores of the gulf in the bottom left.

alt=A large mosaic depicting an array of soldiers on horseback doing battle. Parts of it have been damaged or lost to time.

alt=Small figures of women on the battlefield, all with long red hair and all wearing feathered toques

''Susannah and the Elders'' (1526), the only other painting by Altdorfer in the [[Alte Pinakothek

Detail of soldiers from both armies. Reinhart Koselleck comments that the Persians resemble the 16th-century Turks "from their feet to their turbans."

Matthias Grünewald's ''The Virgin and Child with the Heavenly Host'' (c. 1515)

Alexander the Great#Death and succession

alt=A miniature painting showing four brightly clothed men carrying a large banner which is painted with a complex battle scene

alt=An island, and a cityscape featuring church towers

mi}} to the north. Cavalry is concentrated on the shores of the Gulf of İskenderun (or Gulf of Issus) on both sides. Alexander devotes himself to a right approach with his Companion cavalry, having unseated the Persian foothill defence.

alt=A steep mountain, upon which are built fortifications

alt= A painting of St George slaying the dragon set in a dense forest in which the figures are dwarfed by the trees. A distant landscape is seen through a break.

Detail of the oversized island of Cyprus and what is probably the city of Tarsus

A miniature from ''Triumphal Procession'' (1512–1516)

File:Horatius Cocles Stopping King Porsenna's Army outside Rome (Ludwig Refinger) - Nationalmuseum - 17244.tif

alt=A blazing sun above blue-tinged mountains and water

The Alexander Mosaic, as seen in the Naples National Archaeological Museum

Category:Paintings by Albrecht Altdorfer

List of landscapes by Albrecht Altdorfer


Wheatfield with Crows

Prompt: Focus on Wheatfield with Crows and explain the abstract.

Wheatfield with Crows (Dutch: Korenveld met kraaien) is a July 1890 painting by Vincent van Gogh. It has been cited by several critics as one of his greatest works.It is commonly stated that this was van Gogh's final painting. This association was popularized by Vincente Minnelli’s 1956 biopic Lust for Life, which depicts van Gogh painting it immediately before shooting himself. His final painting in actuality was Tree Roots. The evidence of his letters suggests that Wheatfield with Crows was completed around 10 July and predates such paintings as Auvers Town Hall on 14 July 1890 and Daubigny's Garden. Moreover, Jan Hulsker has written that a painting of harvested wheat, Field with Stacks of Wheat (F771), must be a later painting.

File:Vincent van Gogh - Wheatfield Under Thunderclouds - VGM F778.jpg

Double-squares and Squares#Van Gogh.27s Double-square canvases

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh

Category:Collection of the Van Gogh Museum


Wheatfield with Crows

Prompt: Explain the abstract of this artwork, Wheatfield with Crows.

Wheatfield with Crows (Dutch: Korenveld met kraaien) is a July 1890 painting by Vincent van Gogh. It has been cited by several critics as one of his greatest works.It is commonly stated that this was van Gogh's final painting. This association was popularized by Vincente Minnelli’s 1956 biopic Lust for Life, which depicts van Gogh painting it immediately before shooting himself. His final painting in actuality was Tree Roots. The evidence of his letters suggests that Wheatfield with Crows was completed around 10 July and predates such paintings as Auvers Town Hall on 14 July 1890 and Daubigny's Garden. Moreover, Jan Hulsker has written that a painting of harvested wheat, Field with Stacks of Wheat (F771), must be a later painting.

File:Vincent van Gogh - Wheatfield Under Thunderclouds - VGM F778.jpg

Double-squares and Squares#Van Gogh.27s Double-square canvases

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh

Category:Collection of the Van Gogh Museum


Wheatfield with Crows

Prompt: How does Wheatfield with Crows explain its abstract?

Wheatfield with Crows (Dutch: Korenveld met kraaien) is a July 1890 painting by Vincent van Gogh. It has been cited by several critics as one of his greatest works.It is commonly stated that this was van Gogh's final painting. This association was popularized by Vincente Minnelli’s 1956 biopic Lust for Life, which depicts van Gogh painting it immediately before shooting himself. His final painting in actuality was Tree Roots. The evidence of his letters suggests that Wheatfield with Crows was completed around 10 July and predates such paintings as Auvers Town Hall on 14 July 1890 and Daubigny's Garden. Moreover, Jan Hulsker has written that a painting of harvested wheat, Field with Stacks of Wheat (F771), must be a later painting.

File:Vincent van Gogh - Wheatfield Under Thunderclouds - VGM F778.jpg

Double-squares and Squares#Van Gogh.27s Double-square canvases

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh

Category:Collection of the Van Gogh Museum


Wheatfield with Crows

Prompt: In Wheatfield with Crows, how is the abstract discussed?

Wheatfield with Crows (Dutch: Korenveld met kraaien) is a July 1890 painting by Vincent van Gogh. It has been cited by several critics as one of his greatest works.It is commonly stated that this was van Gogh's final painting. This association was popularized by Vincente Minnelli’s 1956 biopic Lust for Life, which depicts van Gogh painting it immediately before shooting himself. His final painting in actuality was Tree Roots. The evidence of his letters suggests that Wheatfield with Crows was completed around 10 July and predates such paintings as Auvers Town Hall on 14 July 1890 and Daubigny's Garden. Moreover, Jan Hulsker has written that a painting of harvested wheat, Field with Stacks of Wheat (F771), must be a later painting.

File:Vincent van Gogh - Wheatfield Under Thunderclouds - VGM F778.jpg

Double-squares and Squares#Van Gogh.27s Double-square canvases

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh

Category:Collection of the Van Gogh Museum


Wheatfield with Crows

Prompt: Focus on Wheatfield with Crows and explain the Provenance.

The Van Gogh Museum's Wheatfield with Crows was painted in July 1890, in the last weeks of van Gogh's life. Many have claimed it as his last painting, while it is likely that Tree Roots was his final painting.Wheat Field with Crows, made on a double-square canvas, depicts a dramatic, cloudy sky filled with crows over a wheat field. A sense of isolation is heightened by a central path leading nowhere and by the uncertain direction of flight of the crows. The windswept wheat field fills two-thirds of the canvas.  Jules Michelet, one of van Gogh's favorite authors, wrote of crows: "They interest themselves in everything, and observe everything.  The ancients, who lived far more completely than ourselves in and with nature, found it no small profit to follow, in a hundred obscure things where human experience as yet affords no light, the directions of so prudent and sage a bird." Kathleen Erickson finds the painting as expressing both sorrow and a sense of his life coming to an end. The crows are used by van Gogh as a symbol of death and rebirth, or of resurrection. The road, in contrasting colors of red and green, is said by Erickson to be a metaphor for a sermon he gave based on Bunyan's The Pilgrim's Progress where the pilgrim is sorrowful that the road is so long, yet rejoices because the Eternal City waits at the journey's end.About 10 July 1890 van Gogh wrote to his brother Theo and his wife Jo Bonger, saying that he had painted another three large canvases at Auvers since visiting them in Paris on 6 July. Two of these are described as  immense stretches of wheatfields under turbulent skies, thought to be Wheatfield under Clouded Sky and Wheatfield with Crows, and the third is Daubigny's Garden. He wrote that he had made a point of expressing sadness, later adding "extreme loneliness" (de la solitude extrême), but also says he believes the canvases show what he considers healthy and fortifying about the countryside (and adds that he intended to take them to Paris as soon as possible).Walther and Metzger, in Van Gogh: The Complete Paintings, state that "There is nothing in van Gogh's words to support a simplistic interpretation along the lines of artistic angst and despair – nor is there any evidence for the widely-held belief that it was this painting that van Gogh had on his easel at the time he killed himself." They refer to a June 1880 letter of van Gogh's, in which he compared himself to a bird in a cage, and remark: "The crows in the painting, in other words, were an altogether personal symbol closely associated with van Gogh's own life".These painting are all examples of van Gogh's elongated double-square canvases, used exclusively by him in the last few weeks of his life, in June and July 1890.The painting is held in the collection of the Van Gogh Museum in Amsterdam, as is Wheatfield under Clouded Sky.Wheatfield with Crows was stolen and quickly recovered in 1991 along with 19 other van Gogh paintings; the painting was "severely damaged" during the heist.The Indonesian composer Ananda Sukarlan composed a piece with the same title for flute and piano inspired by this and three other paintings, under a cycle titled "The Springs of Vincent".

File:Vincent van Gogh - Wheatfield Under Thunderclouds - VGM F778.jpg

Double-squares and Squares#Van Gogh.27s Double-square canvases

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh

Category:Collection of the Van Gogh Museum


Wheatfield with Crows

Prompt: Explain the Provenance of this artwork, Wheatfield with Crows.

The Van Gogh Museum's Wheatfield with Crows was painted in July 1890, in the last weeks of van Gogh's life. Many have claimed it as his last painting, while it is likely that Tree Roots was his final painting.Wheat Field with Crows, made on a double-square canvas, depicts a dramatic, cloudy sky filled with crows over a wheat field. A sense of isolation is heightened by a central path leading nowhere and by the uncertain direction of flight of the crows. The windswept wheat field fills two-thirds of the canvas.  Jules Michelet, one of van Gogh's favorite authors, wrote of crows: "They interest themselves in everything, and observe everything.  The ancients, who lived far more completely than ourselves in and with nature, found it no small profit to follow, in a hundred obscure things where human experience as yet affords no light, the directions of so prudent and sage a bird." Kathleen Erickson finds the painting as expressing both sorrow and a sense of his life coming to an end. The crows are used by van Gogh as a symbol of death and rebirth, or of resurrection. The road, in contrasting colors of red and green, is said by Erickson to be a metaphor for a sermon he gave based on Bunyan's The Pilgrim's Progress where the pilgrim is sorrowful that the road is so long, yet rejoices because the Eternal City waits at the journey's end.About 10 July 1890 van Gogh wrote to his brother Theo and his wife Jo Bonger, saying that he had painted another three large canvases at Auvers since visiting them in Paris on 6 July. Two of these are described as  immense stretches of wheatfields under turbulent skies, thought to be Wheatfield under Clouded Sky and Wheatfield with Crows, and the third is Daubigny's Garden. He wrote that he had made a point of expressing sadness, later adding "extreme loneliness" (de la solitude extrême), but also says he believes the canvases show what he considers healthy and fortifying about the countryside (and adds that he intended to take them to Paris as soon as possible).Walther and Metzger, in Van Gogh: The Complete Paintings, state that "There is nothing in van Gogh's words to support a simplistic interpretation along the lines of artistic angst and despair – nor is there any evidence for the widely-held belief that it was this painting that van Gogh had on his easel at the time he killed himself." They refer to a June 1880 letter of van Gogh's, in which he compared himself to a bird in a cage, and remark: "The crows in the painting, in other words, were an altogether personal symbol closely associated with van Gogh's own life".These painting are all examples of van Gogh's elongated double-square canvases, used exclusively by him in the last few weeks of his life, in June and July 1890.The painting is held in the collection of the Van Gogh Museum in Amsterdam, as is Wheatfield under Clouded Sky.Wheatfield with Crows was stolen and quickly recovered in 1991 along with 19 other van Gogh paintings; the painting was "severely damaged" during the heist.The Indonesian composer Ananda Sukarlan composed a piece with the same title for flute and piano inspired by this and three other paintings, under a cycle titled "The Springs of Vincent".

File:Vincent van Gogh - Wheatfield Under Thunderclouds - VGM F778.jpg

Double-squares and Squares#Van Gogh.27s Double-square canvases

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh

Category:Collection of the Van Gogh Museum


Wheatfield with Crows

Prompt: How does Wheatfield with Crows explain its Provenance?

The Van Gogh Museum's Wheatfield with Crows was painted in July 1890, in the last weeks of van Gogh's life. Many have claimed it as his last painting, while it is likely that Tree Roots was his final painting.Wheat Field with Crows, made on a double-square canvas, depicts a dramatic, cloudy sky filled with crows over a wheat field. A sense of isolation is heightened by a central path leading nowhere and by the uncertain direction of flight of the crows. The windswept wheat field fills two-thirds of the canvas.  Jules Michelet, one of van Gogh's favorite authors, wrote of crows: "They interest themselves in everything, and observe everything.  The ancients, who lived far more completely than ourselves in and with nature, found it no small profit to follow, in a hundred obscure things where human experience as yet affords no light, the directions of so prudent and sage a bird." Kathleen Erickson finds the painting as expressing both sorrow and a sense of his life coming to an end. The crows are used by van Gogh as a symbol of death and rebirth, or of resurrection. The road, in contrasting colors of red and green, is said by Erickson to be a metaphor for a sermon he gave based on Bunyan's The Pilgrim's Progress where the pilgrim is sorrowful that the road is so long, yet rejoices because the Eternal City waits at the journey's end.About 10 July 1890 van Gogh wrote to his brother Theo and his wife Jo Bonger, saying that he had painted another three large canvases at Auvers since visiting them in Paris on 6 July. Two of these are described as  immense stretches of wheatfields under turbulent skies, thought to be Wheatfield under Clouded Sky and Wheatfield with Crows, and the third is Daubigny's Garden. He wrote that he had made a point of expressing sadness, later adding "extreme loneliness" (de la solitude extrême), but also says he believes the canvases show what he considers healthy and fortifying about the countryside (and adds that he intended to take them to Paris as soon as possible).Walther and Metzger, in Van Gogh: The Complete Paintings, state that "There is nothing in van Gogh's words to support a simplistic interpretation along the lines of artistic angst and despair – nor is there any evidence for the widely-held belief that it was this painting that van Gogh had on his easel at the time he killed himself." They refer to a June 1880 letter of van Gogh's, in which he compared himself to a bird in a cage, and remark: "The crows in the painting, in other words, were an altogether personal symbol closely associated with van Gogh's own life".These painting are all examples of van Gogh's elongated double-square canvases, used exclusively by him in the last few weeks of his life, in June and July 1890.The painting is held in the collection of the Van Gogh Museum in Amsterdam, as is Wheatfield under Clouded Sky.Wheatfield with Crows was stolen and quickly recovered in 1991 along with 19 other van Gogh paintings; the painting was "severely damaged" during the heist.The Indonesian composer Ananda Sukarlan composed a piece with the same title for flute and piano inspired by this and three other paintings, under a cycle titled "The Springs of Vincent".

File:Vincent van Gogh - Wheatfield Under Thunderclouds - VGM F778.jpg

Double-squares and Squares#Van Gogh.27s Double-square canvases

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh

Category:Collection of the Van Gogh Museum


Wheatfield with Crows

Prompt: In Wheatfield with Crows, how is the Provenance discussed?

The Van Gogh Museum's Wheatfield with Crows was painted in July 1890, in the last weeks of van Gogh's life. Many have claimed it as his last painting, while it is likely that Tree Roots was his final painting.Wheat Field with Crows, made on a double-square canvas, depicts a dramatic, cloudy sky filled with crows over a wheat field. A sense of isolation is heightened by a central path leading nowhere and by the uncertain direction of flight of the crows. The windswept wheat field fills two-thirds of the canvas.  Jules Michelet, one of van Gogh's favorite authors, wrote of crows: "They interest themselves in everything, and observe everything.  The ancients, who lived far more completely than ourselves in and with nature, found it no small profit to follow, in a hundred obscure things where human experience as yet affords no light, the directions of so prudent and sage a bird." Kathleen Erickson finds the painting as expressing both sorrow and a sense of his life coming to an end. The crows are used by van Gogh as a symbol of death and rebirth, or of resurrection. The road, in contrasting colors of red and green, is said by Erickson to be a metaphor for a sermon he gave based on Bunyan's The Pilgrim's Progress where the pilgrim is sorrowful that the road is so long, yet rejoices because the Eternal City waits at the journey's end.About 10 July 1890 van Gogh wrote to his brother Theo and his wife Jo Bonger, saying that he had painted another three large canvases at Auvers since visiting them in Paris on 6 July. Two of these are described as  immense stretches of wheatfields under turbulent skies, thought to be Wheatfield under Clouded Sky and Wheatfield with Crows, and the third is Daubigny's Garden. He wrote that he had made a point of expressing sadness, later adding "extreme loneliness" (de la solitude extrême), but also says he believes the canvases show what he considers healthy and fortifying about the countryside (and adds that he intended to take them to Paris as soon as possible).Walther and Metzger, in Van Gogh: The Complete Paintings, state that "There is nothing in van Gogh's words to support a simplistic interpretation along the lines of artistic angst and despair – nor is there any evidence for the widely-held belief that it was this painting that van Gogh had on his easel at the time he killed himself." They refer to a June 1880 letter of van Gogh's, in which he compared himself to a bird in a cage, and remark: "The crows in the painting, in other words, were an altogether personal symbol closely associated with van Gogh's own life".These painting are all examples of van Gogh's elongated double-square canvases, used exclusively by him in the last few weeks of his life, in June and July 1890.The painting is held in the collection of the Van Gogh Museum in Amsterdam, as is Wheatfield under Clouded Sky.Wheatfield with Crows was stolen and quickly recovered in 1991 along with 19 other van Gogh paintings; the painting was "severely damaged" during the heist.The Indonesian composer Ananda Sukarlan composed a piece with the same title for flute and piano inspired by this and three other paintings, under a cycle titled "The Springs of Vincent".

File:Vincent van Gogh - Wheatfield Under Thunderclouds - VGM F778.jpg

Double-squares and Squares#Van Gogh.27s Double-square canvases

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh

Category:Collection of the Van Gogh Museum


Wikipedia Monument

Prompt: Focus on Wikipedia Monument and explain the abstract.

The Wikipedia Monument (Polish: Pomnik Wikipedii), located in Słubice, Poland, is a statue designed by Armenian sculptor Mihran Hakobyan honoring Wikipedia contributors. It was unveiled in Frankfurt Square (Plac Frankfurcki) on 22 October 2014 in a ceremony that included representatives from both local Wikimedia chapters and the Wikimedia Foundation.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips

Common Knowledge? An Ethnography of Wikipedia


Wikipedia Monument

Prompt: Explain the abstract of this artwork, Wikipedia Monument.

The Wikipedia Monument (Polish: Pomnik Wikipedii), located in Słubice, Poland, is a statue designed by Armenian sculptor Mihran Hakobyan honoring Wikipedia contributors. It was unveiled in Frankfurt Square (Plac Frankfurcki) on 22 October 2014 in a ceremony that included representatives from both local Wikimedia chapters and the Wikimedia Foundation.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips

Common Knowledge? An Ethnography of Wikipedia


Wikipedia Monument

Prompt: How does Wikipedia Monument explain its abstract?

The Wikipedia Monument (Polish: Pomnik Wikipedii), located in Słubice, Poland, is a statue designed by Armenian sculptor Mihran Hakobyan honoring Wikipedia contributors. It was unveiled in Frankfurt Square (Plac Frankfurcki) on 22 October 2014 in a ceremony that included representatives from both local Wikimedia chapters and the Wikimedia Foundation.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips

Common Knowledge? An Ethnography of Wikipedia


Wikipedia Monument

Prompt: In Wikipedia Monument, how is the abstract discussed?

The Wikipedia Monument (Polish: Pomnik Wikipedii), located in Słubice, Poland, is a statue designed by Armenian sculptor Mihran Hakobyan honoring Wikipedia contributors. It was unveiled in Frankfurt Square (Plac Frankfurcki) on 22 October 2014 in a ceremony that included representatives from both local Wikimedia chapters and the Wikimedia Foundation.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips

Common Knowledge? An Ethnography of Wikipedia


Wikipedia Monument

Prompt: Focus on Wikipedia Monument and explain the Description.

The monument depicts four nude figures holding aloft a globe based on the Wikipedia logo, reaching over two metres (6 ft 7 in) up. The fiber-and-resin statue was designed by Armenian-born artist Mihran Hakobyan, who graduated from Collegium Polonicum. It cost about 50,000 złotys (approximately $13,500; €11,700) and was funded by Słubice regional authorities. The monument has the following inscription:With this monument the citizens of Słubice would like to pay homage to thousands of anonymous editors all over the world, who have contributed voluntarily to the creation of Wikipedia, the greatest project co-created by people regardless of political, religious or cultural borders. In the year this monument is unveiled Wikipedia is available in more than 280 languages and contains about 30 million articles. The benefactors behind this monument feel certain that with Wikipedia as one of its pillars the knowledge society will be able to contribute to the sustainable development of our civilization, social justice and peace among nations.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips

Common Knowledge? An Ethnography of Wikipedia


Wikipedia Monument

Prompt: Explain the Description of this artwork, Wikipedia Monument.

The monument depicts four nude figures holding aloft a globe based on the Wikipedia logo, reaching over two metres (6 ft 7 in) up. The fiber-and-resin statue was designed by Armenian-born artist Mihran Hakobyan, who graduated from Collegium Polonicum. It cost about 50,000 złotys (approximately $13,500; €11,700) and was funded by Słubice regional authorities. The monument has the following inscription:With this monument the citizens of Słubice would like to pay homage to thousands of anonymous editors all over the world, who have contributed voluntarily to the creation of Wikipedia, the greatest project co-created by people regardless of political, religious or cultural borders. In the year this monument is unveiled Wikipedia is available in more than 280 languages and contains about 30 million articles. The benefactors behind this monument feel certain that with Wikipedia as one of its pillars the knowledge society will be able to contribute to the sustainable development of our civilization, social justice and peace among nations.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips

Common Knowledge? An Ethnography of Wikipedia


Wikipedia Monument

Prompt: How does Wikipedia Monument explain its Description?

The monument depicts four nude figures holding aloft a globe based on the Wikipedia logo, reaching over two metres (6 ft 7 in) up. The fiber-and-resin statue was designed by Armenian-born artist Mihran Hakobyan, who graduated from Collegium Polonicum. It cost about 50,000 złotys (approximately $13,500; €11,700) and was funded by Słubice regional authorities. The monument has the following inscription:With this monument the citizens of Słubice would like to pay homage to thousands of anonymous editors all over the world, who have contributed voluntarily to the creation of Wikipedia, the greatest project co-created by people regardless of political, religious or cultural borders. In the year this monument is unveiled Wikipedia is available in more than 280 languages and contains about 30 million articles. The benefactors behind this monument feel certain that with Wikipedia as one of its pillars the knowledge society will be able to contribute to the sustainable development of our civilization, social justice and peace among nations.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips

Common Knowledge? An Ethnography of Wikipedia


Wikipedia Monument

Prompt: In Wikipedia Monument, how is the Description discussed?

The monument depicts four nude figures holding aloft a globe based on the Wikipedia logo, reaching over two metres (6 ft 7 in) up. The fiber-and-resin statue was designed by Armenian-born artist Mihran Hakobyan, who graduated from Collegium Polonicum. It cost about 50,000 złotys (approximately $13,500; €11,700) and was funded by Słubice regional authorities. The monument has the following inscription:With this monument the citizens of Słubice would like to pay homage to thousands of anonymous editors all over the world, who have contributed voluntarily to the creation of Wikipedia, the greatest project co-created by people regardless of political, religious or cultural borders. In the year this monument is unveiled Wikipedia is available in more than 280 languages and contains about 30 million articles. The benefactors behind this monument feel certain that with Wikipedia as one of its pillars the knowledge society will be able to contribute to the sustainable development of our civilization, social justice and peace among nations.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips

Common Knowledge? An Ethnography of Wikipedia


Wikipedia Monument

Prompt: Focus on Wikipedia Monument and explain the History.

The monument was suggested around 2010 by Krzysztof Wojciechowski, a university professor and director of the Collegium Polonicum in Słubice. Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial "will highlight the town's importance as an academic centre". A Wikimedia Polska representative stated that the organization hopes that this project will "raise awareness of the website and encourage people to contribute."It was unveiled on 22 October 2014, on the Plac Frankfurcki, becoming the world's first monument to the online encyclopedia. Representatives from the Wikimedia Foundation as well as from the Wikimedia chapters for Poland and Germany (Wikimedia Polska and Wikimedia Deutschland, respectively) attended the dedication ceremony. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address.When Wikipedia started back in 2001 I have to say that I never imagined a day when Wikipedia would be honored with a monument – we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips


Wikipedia Monument

Prompt: Explain the History of this artwork, Wikipedia Monument.

The monument was suggested around 2010 by Krzysztof Wojciechowski, a university professor and director of the Collegium Polonicum in Słubice. Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial "will highlight the town's importance as an academic centre". A Wikimedia Polska representative stated that the organization hopes that this project will "raise awareness of the website and encourage people to contribute."It was unveiled on 22 October 2014, on the Plac Frankfurcki, becoming the world's first monument to the online encyclopedia. Representatives from the Wikimedia Foundation as well as from the Wikimedia chapters for Poland and Germany (Wikimedia Polska and Wikimedia Deutschland, respectively) attended the dedication ceremony. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address.When Wikipedia started back in 2001 I have to say that I never imagined a day when Wikipedia would be honored with a monument – we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips


Wikipedia Monument

Prompt: How does Wikipedia Monument explain its History?

The monument was suggested around 2010 by Krzysztof Wojciechowski, a university professor and director of the Collegium Polonicum in Słubice. Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial "will highlight the town's importance as an academic centre". A Wikimedia Polska representative stated that the organization hopes that this project will "raise awareness of the website and encourage people to contribute."It was unveiled on 22 October 2014, on the Plac Frankfurcki, becoming the world's first monument to the online encyclopedia. Representatives from the Wikimedia Foundation as well as from the Wikimedia chapters for Poland and Germany (Wikimedia Polska and Wikimedia Deutschland, respectively) attended the dedication ceremony. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address.When Wikipedia started back in 2001 I have to say that I never imagined a day when Wikipedia would be honored with a monument – we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips


Wikipedia Monument

Prompt: In Wikipedia Monument, how is the History discussed?

The monument was suggested around 2010 by Krzysztof Wojciechowski, a university professor and director of the Collegium Polonicum in Słubice. Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial "will highlight the town's importance as an academic centre". A Wikimedia Polska representative stated that the organization hopes that this project will "raise awareness of the website and encourage people to contribute."It was unveiled on 22 October 2014, on the Plac Frankfurcki, becoming the world's first monument to the online encyclopedia. Representatives from the Wikimedia Foundation as well as from the Wikimedia chapters for Poland and Germany (Wikimedia Polska and Wikimedia Deutschland, respectively) attended the dedication ceremony. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address.When Wikipedia started back in 2001 I have to say that I never imagined a day when Wikipedia would be honored with a monument – we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips


Netherlandish Proverbs

Prompt: Focus on Netherlandish Proverbs and explain the abstract.

Netherlandish Proverbs (Dutch: Nederlandse Spreekwoorden; also called Flemish Proverbs, The Blue Cloak or The Topsy Turvy World) is a 1559 oil-on-oak-panel painting by Pieter Bruegel the Elder that depicts a scene in which humans and, to a lesser extent, animals and objects, offer literal illustrations of Dutch-language proverbs and idioms.Running themes in Bruegel's paintings that appear in Netherlandish Proverbs are the absurdity, wickedness and foolishness of humans. Its original title, The Blue Cloak or The Folly of the World, indicates that Bruegel's intent was not just to illustrate proverbs, but rather to catalogue human folly. Many of the people depicted show the characteristic blank features that Bruegel used to portray fools.His son, Pieter Brueghel the Younger, specialised in making copies of his father's work and painted at least 16 copies of Netherlandish Proverbs. Not all versions of the painting, by father or son, show exactly the same proverbs and they also differ in other minor details. The original work by Bruegel the Elder is in the collection of the Gemäldegalerie, Berlin, with the copies in numerous other collections (see below).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Explain the abstract of this artwork, Netherlandish Proverbs.

Netherlandish Proverbs (Dutch: Nederlandse Spreekwoorden; also called Flemish Proverbs, The Blue Cloak or The Topsy Turvy World) is a 1559 oil-on-oak-panel painting by Pieter Bruegel the Elder that depicts a scene in which humans and, to a lesser extent, animals and objects, offer literal illustrations of Dutch-language proverbs and idioms.Running themes in Bruegel's paintings that appear in Netherlandish Proverbs are the absurdity, wickedness and foolishness of humans. Its original title, The Blue Cloak or The Folly of the World, indicates that Bruegel's intent was not just to illustrate proverbs, but rather to catalogue human folly. Many of the people depicted show the characteristic blank features that Bruegel used to portray fools.His son, Pieter Brueghel the Younger, specialised in making copies of his father's work and painted at least 16 copies of Netherlandish Proverbs. Not all versions of the painting, by father or son, show exactly the same proverbs and they also differ in other minor details. The original work by Bruegel the Elder is in the collection of the Gemäldegalerie, Berlin, with the copies in numerous other collections (see below).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: How does Netherlandish Proverbs explain its abstract?

Netherlandish Proverbs (Dutch: Nederlandse Spreekwoorden; also called Flemish Proverbs, The Blue Cloak or The Topsy Turvy World) is a 1559 oil-on-oak-panel painting by Pieter Bruegel the Elder that depicts a scene in which humans and, to a lesser extent, animals and objects, offer literal illustrations of Dutch-language proverbs and idioms.Running themes in Bruegel's paintings that appear in Netherlandish Proverbs are the absurdity, wickedness and foolishness of humans. Its original title, The Blue Cloak or The Folly of the World, indicates that Bruegel's intent was not just to illustrate proverbs, but rather to catalogue human folly. Many of the people depicted show the characteristic blank features that Bruegel used to portray fools.His son, Pieter Brueghel the Younger, specialised in making copies of his father's work and painted at least 16 copies of Netherlandish Proverbs. Not all versions of the painting, by father or son, show exactly the same proverbs and they also differ in other minor details. The original work by Bruegel the Elder is in the collection of the Gemäldegalerie, Berlin, with the copies in numerous other collections (see below).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: In Netherlandish Proverbs, how is the abstract discussed?

Netherlandish Proverbs (Dutch: Nederlandse Spreekwoorden; also called Flemish Proverbs, The Blue Cloak or The Topsy Turvy World) is a 1559 oil-on-oak-panel painting by Pieter Bruegel the Elder that depicts a scene in which humans and, to a lesser extent, animals and objects, offer literal illustrations of Dutch-language proverbs and idioms.Running themes in Bruegel's paintings that appear in Netherlandish Proverbs are the absurdity, wickedness and foolishness of humans. Its original title, The Blue Cloak or The Folly of the World, indicates that Bruegel's intent was not just to illustrate proverbs, but rather to catalogue human folly. Many of the people depicted show the characteristic blank features that Bruegel used to portray fools.His son, Pieter Brueghel the Younger, specialised in making copies of his father's work and painted at least 16 copies of Netherlandish Proverbs. Not all versions of the painting, by father or son, show exactly the same proverbs and they also differ in other minor details. The original work by Bruegel the Elder is in the collection of the Gemäldegalerie, Berlin, with the copies in numerous other collections (see below).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: In the context of Netherlandish Proverbs, explain the Context and the History.

Proverbs were very popular in Bruegel's time and before; a hundred years before Bruegel's painting, illustrations of proverbs had been popular in the Flemish books of hours. A number of collections were published, including Adagia, by the Dutch humanist Desiderius Erasmus. The French writer François Rabelais employed significant numbers in his novel Gargantua and Pantagruel, completed in 1564.The Flemish artist Frans Hogenberg made an engraving illustrating 43 proverbs in around 1558, roughly the same time as Bruegel's painting. The work is very similar in composition to Bruegel's and includes certain proverbs (like the Blue Cloak) which also feature prominently in Netherlandish Proverbs. By depicting literal renditions of proverbs in a peasant setting, both artists have shown a "world turned upside down".Bruegel himself had painted several minor paintings on the subject of proverbs including Big Fish Eat Little Fish (1556) and Twelve Proverbs (1558), but Netherlandish Proverbs is thought to have been his first large-scale painting on the theme.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Explain the Context about the History of this artwork, Netherlandish Proverbs.

Proverbs were very popular in Bruegel's time and before; a hundred years before Bruegel's painting, illustrations of proverbs had been popular in the Flemish books of hours. A number of collections were published, including Adagia, by the Dutch humanist Desiderius Erasmus. The French writer François Rabelais employed significant numbers in his novel Gargantua and Pantagruel, completed in 1564.The Flemish artist Frans Hogenberg made an engraving illustrating 43 proverbs in around 1558, roughly the same time as Bruegel's painting. The work is very similar in composition to Bruegel's and includes certain proverbs (like the Blue Cloak) which also feature prominently in Netherlandish Proverbs. By depicting literal renditions of proverbs in a peasant setting, both artists have shown a "world turned upside down".Bruegel himself had painted several minor paintings on the subject of proverbs including Big Fish Eat Little Fish (1556) and Twelve Proverbs (1558), but Netherlandish Proverbs is thought to have been his first large-scale painting on the theme.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: In Netherlandish Proverbs, how is the Context of the History explained?

Proverbs were very popular in Bruegel's time and before; a hundred years before Bruegel's painting, illustrations of proverbs had been popular in the Flemish books of hours. A number of collections were published, including Adagia, by the Dutch humanist Desiderius Erasmus. The French writer François Rabelais employed significant numbers in his novel Gargantua and Pantagruel, completed in 1564.The Flemish artist Frans Hogenberg made an engraving illustrating 43 proverbs in around 1558, roughly the same time as Bruegel's painting. The work is very similar in composition to Bruegel's and includes certain proverbs (like the Blue Cloak) which also feature prominently in Netherlandish Proverbs. By depicting literal renditions of proverbs in a peasant setting, both artists have shown a "world turned upside down".Bruegel himself had painted several minor paintings on the subject of proverbs including Big Fish Eat Little Fish (1556) and Twelve Proverbs (1558), but Netherlandish Proverbs is thought to have been his first large-scale painting on the theme.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Describe the characteristics of the Context in Netherlandish Proverbs's History.

Proverbs were very popular in Bruegel's time and before; a hundred years before Bruegel's painting, illustrations of proverbs had been popular in the Flemish books of hours. A number of collections were published, including Adagia, by the Dutch humanist Desiderius Erasmus. The French writer François Rabelais employed significant numbers in his novel Gargantua and Pantagruel, completed in 1564.The Flemish artist Frans Hogenberg made an engraving illustrating 43 proverbs in around 1558, roughly the same time as Bruegel's painting. The work is very similar in composition to Bruegel's and includes certain proverbs (like the Blue Cloak) which also feature prominently in Netherlandish Proverbs. By depicting literal renditions of proverbs in a peasant setting, both artists have shown a "world turned upside down".Bruegel himself had painted several minor paintings on the subject of proverbs including Big Fish Eat Little Fish (1556) and Twelve Proverbs (1558), but Netherlandish Proverbs is thought to have been his first large-scale painting on the theme.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Focus on Netherlandish Proverbs and explain the The painting.

The painting, dated 1559, is considered the best of a series of similar paintings which at one time or other have all previously been attributed to Pieter Bruegel the Elder, has been x-rayed for its underdrawing to compare it to other versions. None of the versions have a provenance going back further than the late 19th-century, but Bruegel scholars believe that the paintings are the elder Bruegel's inventions, which all make use of a life-size cartoon with the same underdrawing as that used in the Berlin version. The paintings, which are not inscribed, tease the viewer into guessing proverbs. They are based on 1558 and earlier engravings that are inscribed, in Flemish. The most notable of these regarding the paintings is by Frans Hogenberg, and it is dated 1558 and accompanied by the title Die blau huicke is dit meest ghenaemt, maer des weerelts abvisen he beter betaempt (English: Often called 'The Blue Cloak', this could better be called 'The World's Follies'). The Doetecum brothers produced a print series in 1577 called De Blauwe Huyck. Theodoor Galle also made a print, dated later, with a similar title: Dese wtbeeldinghe wort die blauw hvyck genaemt, maer deze werelts abvysen haer beter betaemt.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Explain the The painting of this artwork, Netherlandish Proverbs.

The painting, dated 1559, is considered the best of a series of similar paintings which at one time or other have all previously been attributed to Pieter Bruegel the Elder, has been x-rayed for its underdrawing to compare it to other versions. None of the versions have a provenance going back further than the late 19th-century, but Bruegel scholars believe that the paintings are the elder Bruegel's inventions, which all make use of a life-size cartoon with the same underdrawing as that used in the Berlin version. The paintings, which are not inscribed, tease the viewer into guessing proverbs. They are based on 1558 and earlier engravings that are inscribed, in Flemish. The most notable of these regarding the paintings is by Frans Hogenberg, and it is dated 1558 and accompanied by the title Die blau huicke is dit meest ghenaemt, maer des weerelts abvisen he beter betaempt (English: Often called 'The Blue Cloak', this could better be called 'The World's Follies'). The Doetecum brothers produced a print series in 1577 called De Blauwe Huyck. Theodoor Galle also made a print, dated later, with a similar title: Dese wtbeeldinghe wort die blauw hvyck genaemt, maer deze werelts abvysen haer beter betaemt.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: How does Netherlandish Proverbs explain its The painting?

The painting, dated 1559, is considered the best of a series of similar paintings which at one time or other have all previously been attributed to Pieter Bruegel the Elder, has been x-rayed for its underdrawing to compare it to other versions. None of the versions have a provenance going back further than the late 19th-century, but Bruegel scholars believe that the paintings are the elder Bruegel's inventions, which all make use of a life-size cartoon with the same underdrawing as that used in the Berlin version. The paintings, which are not inscribed, tease the viewer into guessing proverbs. They are based on 1558 and earlier engravings that are inscribed, in Flemish. The most notable of these regarding the paintings is by Frans Hogenberg, and it is dated 1558 and accompanied by the title Die blau huicke is dit meest ghenaemt, maer des weerelts abvisen he beter betaempt (English: Often called 'The Blue Cloak', this could better be called 'The World's Follies'). The Doetecum brothers produced a print series in 1577 called De Blauwe Huyck. Theodoor Galle also made a print, dated later, with a similar title: Dese wtbeeldinghe wort die blauw hvyck genaemt, maer deze werelts abvysen haer beter betaemt.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: In Netherlandish Proverbs, how is the The painting discussed?

The painting, dated 1559, is considered the best of a series of similar paintings which at one time or other have all previously been attributed to Pieter Bruegel the Elder, has been x-rayed for its underdrawing to compare it to other versions. None of the versions have a provenance going back further than the late 19th-century, but Bruegel scholars believe that the paintings are the elder Bruegel's inventions, which all make use of a life-size cartoon with the same underdrawing as that used in the Berlin version. The paintings, which are not inscribed, tease the viewer into guessing proverbs. They are based on 1558 and earlier engravings that are inscribed, in Flemish. The most notable of these regarding the paintings is by Frans Hogenberg, and it is dated 1558 and accompanied by the title Die blau huicke is dit meest ghenaemt, maer des weerelts abvisen he beter betaempt (English: Often called 'The Blue Cloak', this could better be called 'The World's Follies'). The Doetecum brothers produced a print series in 1577 called De Blauwe Huyck. Theodoor Galle also made a print, dated later, with a similar title: Dese wtbeeldinghe wort die blauw hvyck genaemt, maer deze werelts abvysen haer beter betaemt.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Focus on Netherlandish Proverbs and explain the Proverbs and idioms.

Critics have praised the composition for its ordered portrayal and integrated scene. There are approximately 126 identifiable proverbs and idioms in the scene, although Bruegel may have included others which cannot be determined because of the language change. Some of those incorporated in the painting are still in popular use, for instance "Swimming against the tide", "Banging one's head against a brick wall" and "Armed to the teeth". Many more have faded from use, which makes analysis of the painting harder. "Having one's roof tiled with tarts", for example, which meant to have an abundance of everything and was an image Bruegel would later feature in his painting of the idyllic Land of Cockaigne (1567).The Blue Cloak, the piece's original title, features in the centre of the piece and is being placed on a man by his wife, indicating that she is cuckolding him. Other proverbs indicate human foolishness. A man fills in a pond after his calf has died. Just above the central figure of the blue-cloaked man, another man carries daylight in a basket. Some of the figures seem to represent more than one figure of speech (whether this was Bruegel's intention or not is unknown), such as the man shearing a sheep in the centre bottom left of the picture. He is sitting next to a man shearing a pig, so represents the expression "One shears sheep and one shears pigs", meaning that one has the advantage over the other, but may also represent the advice "Shear them but don't skin them", meaning make the most of available assets.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Explain the Proverbs and idioms of this artwork, Netherlandish Proverbs.

Critics have praised the composition for its ordered portrayal and integrated scene. There are approximately 126 identifiable proverbs and idioms in the scene, although Bruegel may have included others which cannot be determined because of the language change. Some of those incorporated in the painting are still in popular use, for instance "Swimming against the tide", "Banging one's head against a brick wall" and "Armed to the teeth". Many more have faded from use, which makes analysis of the painting harder. "Having one's roof tiled with tarts", for example, which meant to have an abundance of everything and was an image Bruegel would later feature in his painting of the idyllic Land of Cockaigne (1567).The Blue Cloak, the piece's original title, features in the centre of the piece and is being placed on a man by his wife, indicating that she is cuckolding him. Other proverbs indicate human foolishness. A man fills in a pond after his calf has died. Just above the central figure of the blue-cloaked man, another man carries daylight in a basket. Some of the figures seem to represent more than one figure of speech (whether this was Bruegel's intention or not is unknown), such as the man shearing a sheep in the centre bottom left of the picture. He is sitting next to a man shearing a pig, so represents the expression "One shears sheep and one shears pigs", meaning that one has the advantage over the other, but may also represent the advice "Shear them but don't skin them", meaning make the most of available assets.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: How does Netherlandish Proverbs explain its Proverbs and idioms?

Critics have praised the composition for its ordered portrayal and integrated scene. There are approximately 126 identifiable proverbs and idioms in the scene, although Bruegel may have included others which cannot be determined because of the language change. Some of those incorporated in the painting are still in popular use, for instance "Swimming against the tide", "Banging one's head against a brick wall" and "Armed to the teeth". Many more have faded from use, which makes analysis of the painting harder. "Having one's roof tiled with tarts", for example, which meant to have an abundance of everything and was an image Bruegel would later feature in his painting of the idyllic Land of Cockaigne (1567).The Blue Cloak, the piece's original title, features in the centre of the piece and is being placed on a man by his wife, indicating that she is cuckolding him. Other proverbs indicate human foolishness. A man fills in a pond after his calf has died. Just above the central figure of the blue-cloaked man, another man carries daylight in a basket. Some of the figures seem to represent more than one figure of speech (whether this was Bruegel's intention or not is unknown), such as the man shearing a sheep in the centre bottom left of the picture. He is sitting next to a man shearing a pig, so represents the expression "One shears sheep and one shears pigs", meaning that one has the advantage over the other, but may also represent the advice "Shear them but don't skin them", meaning make the most of available assets.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: In Netherlandish Proverbs, how is the Proverbs and idioms discussed?

Critics have praised the composition for its ordered portrayal and integrated scene. There are approximately 126 identifiable proverbs and idioms in the scene, although Bruegel may have included others which cannot be determined because of the language change. Some of those incorporated in the painting are still in popular use, for instance "Swimming against the tide", "Banging one's head against a brick wall" and "Armed to the teeth". Many more have faded from use, which makes analysis of the painting harder. "Having one's roof tiled with tarts", for example, which meant to have an abundance of everything and was an image Bruegel would later feature in his painting of the idyllic Land of Cockaigne (1567).The Blue Cloak, the piece's original title, features in the centre of the piece and is being placed on a man by his wife, indicating that she is cuckolding him. Other proverbs indicate human foolishness. A man fills in a pond after his calf has died. Just above the central figure of the blue-cloaked man, another man carries daylight in a basket. Some of the figures seem to represent more than one figure of speech (whether this was Bruegel's intention or not is unknown), such as the man shearing a sheep in the centre bottom left of the picture. He is sitting next to a man shearing a pig, so represents the expression "One shears sheep and one shears pigs", meaning that one has the advantage over the other, but may also represent the advice "Shear them but don't skin them", meaning make the most of available assets.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Focus on Netherlandish Proverbs and explain the Inspiration for other paintings.

T. E. Breitenbach's 1975 painting Proverbidioms was inspired by this Dutch painting to depict English proverbs and idioms.A 2014 illustration from the Hong Kong magazine Passion Times illustrates dozens of Cantonese proverbs.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Explain the Inspiration for other paintings of this artwork, Netherlandish Proverbs.

T. E. Breitenbach's 1975 painting Proverbidioms was inspired by this Dutch painting to depict English proverbs and idioms.A 2014 illustration from the Hong Kong magazine Passion Times illustrates dozens of Cantonese proverbs.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: How does Netherlandish Proverbs explain its Inspiration for other paintings?

T. E. Breitenbach's 1975 painting Proverbidioms was inspired by this Dutch painting to depict English proverbs and idioms.A 2014 illustration from the Hong Kong magazine Passion Times illustrates dozens of Cantonese proverbs.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: In Netherlandish Proverbs, how is the Inspiration for other paintings discussed?

T. E. Breitenbach's 1975 painting Proverbidioms was inspired by this Dutch painting to depict English proverbs and idioms.A 2014 illustration from the Hong Kong magazine Passion Times illustrates dozens of Cantonese proverbs.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Focus on Netherlandish Proverbs and explain the In popular culture.

The painting is featured on the album cover of Fleet Foxes self-titled first full-length album (2008).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Explain the In popular culture of this artwork, Netherlandish Proverbs.

The painting is featured on the album cover of Fleet Foxes self-titled first full-length album (2008).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: How does Netherlandish Proverbs explain its In popular culture?

The painting is featured on the album cover of Fleet Foxes self-titled first full-length album (2008).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: In Netherlandish Proverbs, how is the In popular culture discussed?

The painting is featured on the album cover of Fleet Foxes self-titled first full-length album (2008).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Mona Lisa (Prado)

Prompt: Focus on Mona Lisa (Prado) and explain the abstract.

The Prado Mona Lisa is a painting by the workshop of Leonardo da Vinci and depicts the same subject and composition as Leonardo's better known Mona Lisa at the Louvre, Paris. The Prado Mona Lisa has been in the collection of the Museo del Prado in Madrid, Spain since 1819, but was considered for decades a relatively unimportant copy. Following its restoration in 2012, however, the Prado's Mona Lisa has come to be understood as the earliest known studio copy of Leonardo's masterpiece.Although there are dozens of surviving copies of the Mona Lisa from the 16th and 17th centuries, the Prado's Mona Lisa may have been painted simultaneously by a student of Leonardo in the same studio where he painted his own Mona Lisa, so it is said to be the copy with the most historical value. Among the pupils of Leonardo, Salaì or Francesco Melzi are the most plausible authors of the Prado's version, though other experts argue that the painting could have been executed by one of Leonardo's Spanish students.

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

File:Gioconda (copia del Museo del Prado restaurada).jpg

Mona Lisa replicas and reinterpretations

File:Copy of La Gioconda - Leonardo da Vinci's apprentice.jpg

The Prado's ''Mona Lisa'' before its restoration, with the black repaint of the landscape background.

Category:Paintings in the Museo del Prado by Italian artists


Mona Lisa (Prado)

Prompt: Explain the abstract of this artwork, Mona Lisa (Prado).

The Prado Mona Lisa is a painting by the workshop of Leonardo da Vinci and depicts the same subject and composition as Leonardo's better known Mona Lisa at the Louvre, Paris. The Prado Mona Lisa has been in the collection of the Museo del Prado in Madrid, Spain since 1819, but was considered for decades a relatively unimportant copy. Following its restoration in 2012, however, the Prado's Mona Lisa has come to be understood as the earliest known studio copy of Leonardo's masterpiece.Although there are dozens of surviving copies of the Mona Lisa from the 16th and 17th centuries, the Prado's Mona Lisa may have been painted simultaneously by a student of Leonardo in the same studio where he painted his own Mona Lisa, so it is said to be the copy with the most historical value. Among the pupils of Leonardo, Salaì or Francesco Melzi are the most plausible authors of the Prado's version, though other experts argue that the painting could have been executed by one of Leonardo's Spanish students.

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

File:Gioconda (copia del Museo del Prado restaurada).jpg

Mona Lisa replicas and reinterpretations

File:Copy of La Gioconda - Leonardo da Vinci's apprentice.jpg

The Prado's ''Mona Lisa'' before its restoration, with the black repaint of the landscape background.

Category:Paintings in the Museo del Prado by Italian artists


Mona Lisa (Prado)

Prompt: How does Mona Lisa (Prado) explain its abstract?

The Prado Mona Lisa is a painting by the workshop of Leonardo da Vinci and depicts the same subject and composition as Leonardo's better known Mona Lisa at the Louvre, Paris. The Prado Mona Lisa has been in the collection of the Museo del Prado in Madrid, Spain since 1819, but was considered for decades a relatively unimportant copy. Following its restoration in 2012, however, the Prado's Mona Lisa has come to be understood as the earliest known studio copy of Leonardo's masterpiece.Although there are dozens of surviving copies of the Mona Lisa from the 16th and 17th centuries, the Prado's Mona Lisa may have been painted simultaneously by a student of Leonardo in the same studio where he painted his own Mona Lisa, so it is said to be the copy with the most historical value. Among the pupils of Leonardo, Salaì or Francesco Melzi are the most plausible authors of the Prado's version, though other experts argue that the painting could have been executed by one of Leonardo's Spanish students.

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

File:Gioconda (copia del Museo del Prado restaurada).jpg

Mona Lisa replicas and reinterpretations

File:Copy of La Gioconda - Leonardo da Vinci's apprentice.jpg

The Prado's ''Mona Lisa'' before its restoration, with the black repaint of the landscape background.

Category:Paintings in the Museo del Prado by Italian artists


Mona Lisa (Prado)

Prompt: In Mona Lisa (Prado), how is the abstract discussed?

The Prado Mona Lisa is a painting by the workshop of Leonardo da Vinci and depicts the same subject and composition as Leonardo's better known Mona Lisa at the Louvre, Paris. The Prado Mona Lisa has been in the collection of the Museo del Prado in Madrid, Spain since 1819, but was considered for decades a relatively unimportant copy. Following its restoration in 2012, however, the Prado's Mona Lisa has come to be understood as the earliest known studio copy of Leonardo's masterpiece.Although there are dozens of surviving copies of the Mona Lisa from the 16th and 17th centuries, the Prado's Mona Lisa may have been painted simultaneously by a student of Leonardo in the same studio where he painted his own Mona Lisa, so it is said to be the copy with the most historical value. Among the pupils of Leonardo, Salaì or Francesco Melzi are the most plausible authors of the Prado's version, though other experts argue that the painting could have been executed by one of Leonardo's Spanish students.

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

File:Gioconda (copia del Museo del Prado restaurada).jpg

Mona Lisa replicas and reinterpretations

File:Copy of La Gioconda - Leonardo da Vinci's apprentice.jpg

The Prado's ''Mona Lisa'' before its restoration, with the black repaint of the landscape background.

Category:Paintings in the Museo del Prado by Italian artists


Mona Lisa (Prado)

Prompt: Focus on Mona Lisa (Prado) and explain the Background.

The origins of the Prado's Mona Lisa are linked to those of Leonardo's original, as both paintings were likely created simultaneously in the same studio. The first documentary reference was made in the 1666 inventory in the Galleria del Mediodia of the Alcazar in Madrid as Mujer de mano de Leonardo Abince (Woman by Leonardo da Vinci's hand). However, it is still unknown when the portrait entered the Spanish Royal Collection, though it could have been already in Spain in the early years of the 17th century. Since the Prado's founding in 1819, the copy has been part of its permanent collection.

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

File:Gioconda (copia del Museo del Prado restaurada).jpg

Mona Lisa replicas and reinterpretations

File:Copy of La Gioconda - Leonardo da Vinci's apprentice.jpg

The Prado's ''Mona Lisa'' before its restoration, with the black repaint of the landscape background.

Category:Paintings in the Museo del Prado by Italian artists


Mona Lisa (Prado)

Prompt: Explain the Background of this artwork, Mona Lisa (Prado).

The origins of the Prado's Mona Lisa are linked to those of Leonardo's original, as both paintings were likely created simultaneously in the same studio. The first documentary reference was made in the 1666 inventory in the Galleria del Mediodia of the Alcazar in Madrid as Mujer de mano de Leonardo Abince (Woman by Leonardo da Vinci's hand). However, it is still unknown when the portrait entered the Spanish Royal Collection, though it could have been already in Spain in the early years of the 17th century. Since the Prado's founding in 1819, the copy has been part of its permanent collection.

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

File:Gioconda (copia del Museo del Prado restaurada).jpg

Mona Lisa replicas and reinterpretations

File:Copy of La Gioconda - Leonardo da Vinci's apprentice.jpg

The Prado's ''Mona Lisa'' before its restoration, with the black repaint of the landscape background.

Category:Paintings in the Museo del Prado by Italian artists


Mona Lisa (Prado)

Prompt: How does Mona Lisa (Prado) explain its Background?

The origins of the Prado's Mona Lisa are linked to those of Leonardo's original, as both paintings were likely created simultaneously in the same studio. The first documentary reference was made in the 1666 inventory in the Galleria del Mediodia of the Alcazar in Madrid as Mujer de mano de Leonardo Abince (Woman by Leonardo da Vinci's hand). However, it is still unknown when the portrait entered the Spanish Royal Collection, though it could have been already in Spain in the early years of the 17th century. Since the Prado's founding in 1819, the copy has been part of its permanent collection.

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

File:Gioconda (copia del Museo del Prado restaurada).jpg

Mona Lisa replicas and reinterpretations

File:Copy of La Gioconda - Leonardo da Vinci's apprentice.jpg

The Prado's ''Mona Lisa'' before its restoration, with the black repaint of the landscape background.

Category:Paintings in the Museo del Prado by Italian artists


Mona Lisa (Prado)

Prompt: In Mona Lisa (Prado), how is the Background discussed?

The origins of the Prado's Mona Lisa are linked to those of Leonardo's original, as both paintings were likely created simultaneously in the same studio. The first documentary reference was made in the 1666 inventory in the Galleria del Mediodia of the Alcazar in Madrid as Mujer de mano de Leonardo Abince (Woman by Leonardo da Vinci's hand). However, it is still unknown when the portrait entered the Spanish Royal Collection, though it could have been already in Spain in the early years of the 17th century. Since the Prado's founding in 1819, the copy has been part of its permanent collection.

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

File:Gioconda (copia del Museo del Prado restaurada).jpg

Mona Lisa replicas and reinterpretations

File:Copy of La Gioconda - Leonardo da Vinci's apprentice.jpg

The Prado's ''Mona Lisa'' before its restoration, with the black repaint of the landscape background.

Category:Paintings in the Museo del Prado by Italian artists