Danseuse (Csaky)

Prompt: Explain the Works exhibited in Salle XI, the Cubist room about the Salon d'Automne, 1912 of this artwork, Danseuse (Csaky).

Joseph Csaky exhibited the sculptures Danseuse (Femme à l'éventail, or Femme à la cruche) no. 405 (location unknown), Groupe de femmes, 1911-1912 (location unknown), Portrait de M.S.H., no. 91 (location unknown)Albert Gleizes, l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud) 1912 (Philadelphia Museum of Art), also exhibited at the Armory show, New York, Chicago, Boston, 1913.Jean Metzinger entered three works: Dancer in a café (entitled Danseuse), La Plume Jaune (The Yellow Feather), Femme à l'Éventail (Woman with a Fan) (Solomon R. Guggenheim Museum, New York), hung in the decorative arts section inside La Maison Cubiste (the Cubist House).Francis Picabia, 1912, La Source (The Spring) (Museum of Modern Art, New York)Fernand Léger exhibited La Femme en Bleu (Woman in Blue), 1912 (Kunstmuseum, Basel) and Le passage à niveau (The Level Crossing), 1912 (Fondation Beyeler, Riehen, Switzerland)Roger de La Fresnaye, Les Baigneuse (The bathers) 1912 (The National Gallery, Washington) and Les joueurs de cartes (Card Players)Henri Le Fauconnier, The Huntsman (Haags Gemeentemuseum, The Hague, Netherlands) and Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) 1912 (Museum of Art, Rhode Island School of Design).André Lhote, Le jugement de Paris, 1912 (Private collection)František Kupka, Amorpha, Fugue à deux couleurs (Fugue in Two Colors), 1912 (Narodni Galerie, Prague), and Amorpha Chromatique Chaude.Alexander Archipenko, Family Life, 1912, sculptureAmedeo Modigliani, exhibited four sculptures of elongated and highly stylized headsRaymond Duchamp-Villon, La Maison Cubiste (The Cubist House), Projet d'Hotel, Façade architecturale, 1912

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg


Danseuse (Csaky)

Prompt: In Danseuse (Csaky), how is the Works exhibited in Salle XI, the Cubist room of the Salon d'Automne, 1912 explained?

Joseph Csaky exhibited the sculptures Danseuse (Femme à l'éventail, or Femme à la cruche) no. 405 (location unknown), Groupe de femmes, 1911-1912 (location unknown), Portrait de M.S.H., no. 91 (location unknown)Albert Gleizes, l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud) 1912 (Philadelphia Museum of Art), also exhibited at the Armory show, New York, Chicago, Boston, 1913.Jean Metzinger entered three works: Dancer in a café (entitled Danseuse), La Plume Jaune (The Yellow Feather), Femme à l'Éventail (Woman with a Fan) (Solomon R. Guggenheim Museum, New York), hung in the decorative arts section inside La Maison Cubiste (the Cubist House).Francis Picabia, 1912, La Source (The Spring) (Museum of Modern Art, New York)Fernand Léger exhibited La Femme en Bleu (Woman in Blue), 1912 (Kunstmuseum, Basel) and Le passage à niveau (The Level Crossing), 1912 (Fondation Beyeler, Riehen, Switzerland)Roger de La Fresnaye, Les Baigneuse (The bathers) 1912 (The National Gallery, Washington) and Les joueurs de cartes (Card Players)Henri Le Fauconnier, The Huntsman (Haags Gemeentemuseum, The Hague, Netherlands) and Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) 1912 (Museum of Art, Rhode Island School of Design).André Lhote, Le jugement de Paris, 1912 (Private collection)František Kupka, Amorpha, Fugue à deux couleurs (Fugue in Two Colors), 1912 (Narodni Galerie, Prague), and Amorpha Chromatique Chaude.Alexander Archipenko, Family Life, 1912, sculptureAmedeo Modigliani, exhibited four sculptures of elongated and highly stylized headsRaymond Duchamp-Villon, La Maison Cubiste (The Cubist House), Projet d'Hotel, Façade architecturale, 1912

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg


Danseuse (Csaky)

Prompt: Describe the characteristics of the Works exhibited in Salle XI, the Cubist room in Danseuse (Csaky)'s Salon d'Automne, 1912.

Joseph Csaky exhibited the sculptures Danseuse (Femme à l'éventail, or Femme à la cruche) no. 405 (location unknown), Groupe de femmes, 1911-1912 (location unknown), Portrait de M.S.H., no. 91 (location unknown)Albert Gleizes, l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud) 1912 (Philadelphia Museum of Art), also exhibited at the Armory show, New York, Chicago, Boston, 1913.Jean Metzinger entered three works: Dancer in a café (entitled Danseuse), La Plume Jaune (The Yellow Feather), Femme à l'Éventail (Woman with a Fan) (Solomon R. Guggenheim Museum, New York), hung in the decorative arts section inside La Maison Cubiste (the Cubist House).Francis Picabia, 1912, La Source (The Spring) (Museum of Modern Art, New York)Fernand Léger exhibited La Femme en Bleu (Woman in Blue), 1912 (Kunstmuseum, Basel) and Le passage à niveau (The Level Crossing), 1912 (Fondation Beyeler, Riehen, Switzerland)Roger de La Fresnaye, Les Baigneuse (The bathers) 1912 (The National Gallery, Washington) and Les joueurs de cartes (Card Players)Henri Le Fauconnier, The Huntsman (Haags Gemeentemuseum, The Hague, Netherlands) and Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) 1912 (Museum of Art, Rhode Island School of Design).André Lhote, Le jugement de Paris, 1912 (Private collection)František Kupka, Amorpha, Fugue à deux couleurs (Fugue in Two Colors), 1912 (Narodni Galerie, Prague), and Amorpha Chromatique Chaude.Alexander Archipenko, Family Life, 1912, sculptureAmedeo Modigliani, exhibited four sculptures of elongated and highly stylized headsRaymond Duchamp-Villon, La Maison Cubiste (The Cubist House), Projet d'Hotel, Façade architecturale, 1912

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg


Danseuse (Csaky)

Prompt: Focus on Danseuse (Csaky) and explain the Salon des Indépendants, 1914.

At the Salon des Indépendants, held in Paris 1 to 30 March 1914, composed of many Orphist works of large dimension and took place in one of the largest rooms on the ground floor of the Grand Palais des Champs-Elysées: Robert Delaunay, Sonia Delaunay, Patrick Henry Bruce and Arthur Burdett Frost were largely represented.Csaky exhibited Femme à l'éventail, plaster n. 5092 under the number 813 of the catalog, along with two busts, executed in a highly Cubist facture. Several years later, Marcel Duchamp, speaking about his own experience during the revolutionary years in the history of art of the 20th century, presented Joseph Csaky as "belonging to a group of sculptors who, before 1914,  imparted a new direction in their work. The theory of Cubism was then a trampoline that permitted the propulsion towards unexplored regions and Csaky, even if influenced by Cubism, developed his own concepts on the treatment of space. His first works appeared more theoretical and intellectual than his later works when he oriented his personal development towards atmospheric structures."Reviewing the 1914 Indépendants in an article entitled Le Salon, published in the periodical Montparnasse, André Salmon, who usually considered works the Indépendants 'true mediocrity of the pupils of l'art officiel', encouraged his readers to visit the year's salon to discover 'true modernity'. To justify his claim he reproduce a large photograph of Csaky's 1913 Head.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: Explain the Salon des Indépendants, 1914 of this artwork, Danseuse (Csaky).

At the Salon des Indépendants, held in Paris 1 to 30 March 1914, composed of many Orphist works of large dimension and took place in one of the largest rooms on the ground floor of the Grand Palais des Champs-Elysées: Robert Delaunay, Sonia Delaunay, Patrick Henry Bruce and Arthur Burdett Frost were largely represented.Csaky exhibited Femme à l'éventail, plaster n. 5092 under the number 813 of the catalog, along with two busts, executed in a highly Cubist facture. Several years later, Marcel Duchamp, speaking about his own experience during the revolutionary years in the history of art of the 20th century, presented Joseph Csaky as "belonging to a group of sculptors who, before 1914,  imparted a new direction in their work. The theory of Cubism was then a trampoline that permitted the propulsion towards unexplored regions and Csaky, even if influenced by Cubism, developed his own concepts on the treatment of space. His first works appeared more theoretical and intellectual than his later works when he oriented his personal development towards atmospheric structures."Reviewing the 1914 Indépendants in an article entitled Le Salon, published in the periodical Montparnasse, André Salmon, who usually considered works the Indépendants 'true mediocrity of the pupils of l'art officiel', encouraged his readers to visit the year's salon to discover 'true modernity'. To justify his claim he reproduce a large photograph of Csaky's 1913 Head.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: How does Danseuse (Csaky) explain its Salon des Indépendants, 1914?

At the Salon des Indépendants, held in Paris 1 to 30 March 1914, composed of many Orphist works of large dimension and took place in one of the largest rooms on the ground floor of the Grand Palais des Champs-Elysées: Robert Delaunay, Sonia Delaunay, Patrick Henry Bruce and Arthur Burdett Frost were largely represented.Csaky exhibited Femme à l'éventail, plaster n. 5092 under the number 813 of the catalog, along with two busts, executed in a highly Cubist facture. Several years later, Marcel Duchamp, speaking about his own experience during the revolutionary years in the history of art of the 20th century, presented Joseph Csaky as "belonging to a group of sculptors who, before 1914,  imparted a new direction in their work. The theory of Cubism was then a trampoline that permitted the propulsion towards unexplored regions and Csaky, even if influenced by Cubism, developed his own concepts on the treatment of space. His first works appeared more theoretical and intellectual than his later works when he oriented his personal development towards atmospheric structures."Reviewing the 1914 Indépendants in an article entitled Le Salon, published in the periodical Montparnasse, André Salmon, who usually considered works the Indépendants 'true mediocrity of the pupils of l'art officiel', encouraged his readers to visit the year's salon to discover 'true modernity'. To justify his claim he reproduce a large photograph of Csaky's 1913 Head.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: In Danseuse (Csaky), how is the Salon des Indépendants, 1914 discussed?

At the Salon des Indépendants, held in Paris 1 to 30 March 1914, composed of many Orphist works of large dimension and took place in one of the largest rooms on the ground floor of the Grand Palais des Champs-Elysées: Robert Delaunay, Sonia Delaunay, Patrick Henry Bruce and Arthur Burdett Frost were largely represented.Csaky exhibited Femme à l'éventail, plaster n. 5092 under the number 813 of the catalog, along with two busts, executed in a highly Cubist facture. Several years later, Marcel Duchamp, speaking about his own experience during the revolutionary years in the history of art of the 20th century, presented Joseph Csaky as "belonging to a group of sculptors who, before 1914,  imparted a new direction in their work. The theory of Cubism was then a trampoline that permitted the propulsion towards unexplored regions and Csaky, even if influenced by Cubism, developed his own concepts on the treatment of space. His first works appeared more theoretical and intellectual than his later works when he oriented his personal development towards atmospheric structures."Reviewing the 1914 Indépendants in an article entitled Le Salon, published in the periodical Montparnasse, André Salmon, who usually considered works the Indépendants 'true mediocrity of the pupils of l'art officiel', encouraged his readers to visit the year's salon to discover 'true modernity'. To justify his claim he reproduce a large photograph of Csaky's 1913 Head.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: Focus on Danseuse (Csaky) and explain the Literature.

René Reichard, Joseph Csaky, Frankfurt, 1988, n. 12, rep. p. 23.Félix Marcilhac, József Csáky, Du cubisme historique à la figuration réaliste, catalogue raisonné des sculptures, Les Editions de l'Amateur, Paris, 2007. rep. (1912-FM.12)

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: Explain the Literature of this artwork, Danseuse (Csaky).

René Reichard, Joseph Csaky, Frankfurt, 1988, n. 12, rep. p. 23.Félix Marcilhac, József Csáky, Du cubisme historique à la figuration réaliste, catalogue raisonné des sculptures, Les Editions de l'Amateur, Paris, 2007. rep. (1912-FM.12)

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: How does Danseuse (Csaky) explain its Literature?

René Reichard, Joseph Csaky, Frankfurt, 1988, n. 12, rep. p. 23.Félix Marcilhac, József Csáky, Du cubisme historique à la figuration réaliste, catalogue raisonné des sculptures, Les Editions de l'Amateur, Paris, 2007. rep. (1912-FM.12)

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: In Danseuse (Csaky), how is the Literature discussed?

René Reichard, Joseph Csaky, Frankfurt, 1988, n. 12, rep. p. 23.Félix Marcilhac, József Csáky, Du cubisme historique à la figuration réaliste, catalogue raisonné des sculptures, Les Editions de l'Amateur, Paris, 2007. rep. (1912-FM.12)

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Swans Reflecting Elephants

Prompt: Focus on Swans Reflecting Elephants and explain the abstract.

Swans Reflecting Elephants is an oil painting by the Spanish surrealist Salvador Dalí, from 1937. It is held in a private collection.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Paranoiac-critical
Surrealism
Category:Elephants in art
Oil painting
private collection
Category:Surrealist paintings
Salvador Dalí
Paranoiac-critical method
Category:Swans in art
Category:1937 paintings
Category:Water in art
Metamorphosis of Narcissus
Oil on canvas


Swans Reflecting Elephants

Prompt: Explain the abstract of this artwork, Swans Reflecting Elephants.

Swans Reflecting Elephants is an oil painting by the Spanish surrealist Salvador Dalí, from 1937. It is held in a private collection.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Paranoiac-critical
Surrealism
Category:Elephants in art
Oil painting
private collection
Category:Surrealist paintings
Salvador Dalí
Paranoiac-critical method
Category:Swans in art
Category:1937 paintings
Category:Water in art
Metamorphosis of Narcissus
Oil on canvas


Swans Reflecting Elephants

Prompt: How does Swans Reflecting Elephants explain its abstract?

Swans Reflecting Elephants is an oil painting by the Spanish surrealist Salvador Dalí, from 1937. It is held in a private collection.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Paranoiac-critical
Surrealism
Category:Elephants in art
Oil painting
private collection
Category:Surrealist paintings
Salvador Dalí
Paranoiac-critical method
Category:Swans in art
Category:1937 paintings
Category:Water in art
Metamorphosis of Narcissus
Oil on canvas


Swans Reflecting Elephants

Prompt: In Swans Reflecting Elephants, how is the abstract discussed?

Swans Reflecting Elephants is an oil painting by the Spanish surrealist Salvador Dalí, from 1937. It is held in a private collection.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Paranoiac-critical
Surrealism
Category:Elephants in art
Oil painting
private collection
Category:Surrealist paintings
Salvador Dalí
Paranoiac-critical method
Category:Swans in art
Category:1937 paintings
Category:Water in art
Metamorphosis of Narcissus
Oil on canvas


Swans Reflecting Elephants

Prompt: Focus on Swans Reflecting Elephants and explain the History and description.

This painting is from Dalí's Paranoiac-critical period. It contains one of Dalí's famous double images. The double images were a major part of Dalí's "paranoia-critical method", which he put forward in his 1935 essay "The Conquest of the Irrational". He explained his process as a "spontaneous method of irrational understanding based upon the interpretative critical association of delirious phenomena." Dalí used this method to bring forth the hallucinatory forms, double images and visual illusions that filled his paintings during the 1930s, most likely his most creative decade.As with the earlier Metamorphosis of Narcissus, Swans Reflecting Elephants uses the reflection in a lake to create the double image seen in the painting. In Metamorphosis, the reflection of Narcissus is used to mirror the shape of the hand on the right of the picture. Here, the three swans in front of bleak, leafless trees are reflected in the lake so that the swans' necks become the elephants' trunks, the swans' bodies become the elephants' ears, and the trees become the legs of the elephants. In the background of the painting is a Catalan landscape depicted in fiery fall colors, the brushwork creating swirls in the cliffs that surround the lake, to contrast with the stillness of the water.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Paranoiac-critical
Surrealism
Category:Elephants in art
Oil painting
private collection
Category:Surrealist paintings
Salvador Dalí
Paranoiac-critical method
Category:Swans in art
Category:1937 paintings
Category:Water in art
Metamorphosis of Narcissus
Oil on canvas


Swans Reflecting Elephants

Prompt: Explain the History and description of this artwork, Swans Reflecting Elephants.

This painting is from Dalí's Paranoiac-critical period. It contains one of Dalí's famous double images. The double images were a major part of Dalí's "paranoia-critical method", which he put forward in his 1935 essay "The Conquest of the Irrational". He explained his process as a "spontaneous method of irrational understanding based upon the interpretative critical association of delirious phenomena." Dalí used this method to bring forth the hallucinatory forms, double images and visual illusions that filled his paintings during the 1930s, most likely his most creative decade.As with the earlier Metamorphosis of Narcissus, Swans Reflecting Elephants uses the reflection in a lake to create the double image seen in the painting. In Metamorphosis, the reflection of Narcissus is used to mirror the shape of the hand on the right of the picture. Here, the three swans in front of bleak, leafless trees are reflected in the lake so that the swans' necks become the elephants' trunks, the swans' bodies become the elephants' ears, and the trees become the legs of the elephants. In the background of the painting is a Catalan landscape depicted in fiery fall colors, the brushwork creating swirls in the cliffs that surround the lake, to contrast with the stillness of the water.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Paranoiac-critical
Surrealism
Category:Elephants in art
Oil painting
private collection
Category:Surrealist paintings
Salvador Dalí
Paranoiac-critical method
Category:Swans in art
Category:1937 paintings
Category:Water in art
Metamorphosis of Narcissus
Oil on canvas


Swans Reflecting Elephants

Prompt: How does Swans Reflecting Elephants explain its History and description?

This painting is from Dalí's Paranoiac-critical period. It contains one of Dalí's famous double images. The double images were a major part of Dalí's "paranoia-critical method", which he put forward in his 1935 essay "The Conquest of the Irrational". He explained his process as a "spontaneous method of irrational understanding based upon the interpretative critical association of delirious phenomena." Dalí used this method to bring forth the hallucinatory forms, double images and visual illusions that filled his paintings during the 1930s, most likely his most creative decade.As with the earlier Metamorphosis of Narcissus, Swans Reflecting Elephants uses the reflection in a lake to create the double image seen in the painting. In Metamorphosis, the reflection of Narcissus is used to mirror the shape of the hand on the right of the picture. Here, the three swans in front of bleak, leafless trees are reflected in the lake so that the swans' necks become the elephants' trunks, the swans' bodies become the elephants' ears, and the trees become the legs of the elephants. In the background of the painting is a Catalan landscape depicted in fiery fall colors, the brushwork creating swirls in the cliffs that surround the lake, to contrast with the stillness of the water.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Paranoiac-critical
Surrealism
Category:Elephants in art
Oil painting
private collection
Category:Surrealist paintings
Salvador Dalí
Paranoiac-critical method
Category:Swans in art
Category:1937 paintings
Category:Water in art
Metamorphosis of Narcissus
Oil on canvas


Swans Reflecting Elephants

Prompt: In Swans Reflecting Elephants, how is the History and description discussed?

This painting is from Dalí's Paranoiac-critical period. It contains one of Dalí's famous double images. The double images were a major part of Dalí's "paranoia-critical method", which he put forward in his 1935 essay "The Conquest of the Irrational". He explained his process as a "spontaneous method of irrational understanding based upon the interpretative critical association of delirious phenomena." Dalí used this method to bring forth the hallucinatory forms, double images and visual illusions that filled his paintings during the 1930s, most likely his most creative decade.As with the earlier Metamorphosis of Narcissus, Swans Reflecting Elephants uses the reflection in a lake to create the double image seen in the painting. In Metamorphosis, the reflection of Narcissus is used to mirror the shape of the hand on the right of the picture. Here, the three swans in front of bleak, leafless trees are reflected in the lake so that the swans' necks become the elephants' trunks, the swans' bodies become the elephants' ears, and the trees become the legs of the elephants. In the background of the painting is a Catalan landscape depicted in fiery fall colors, the brushwork creating swirls in the cliffs that surround the lake, to contrast with the stillness of the water.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Paranoiac-critical
Surrealism
Category:Elephants in art
Oil painting
private collection
Category:Surrealist paintings
Salvador Dalí
Paranoiac-critical method
Category:Swans in art
Category:1937 paintings
Category:Water in art
Metamorphosis of Narcissus
Oil on canvas


Marriage Contract and Country Dancing

Prompt: Focus on Marriage Contract and Country Dancing and explain the abstract.

Marriage Contract and Country Dancing is a c. 1711 oil-on-canvas painting by French artist Antoine Watteau. It entered the Spanish royal collection as part of the collection of Isabella Farnese and was recorded in the La Granja de San Ildefonso Palace in Segovia. It is now in the Prado Museum, in Madrid. It shows the signing of a marriage contract in a rural landscape.

Category:Paintings in the Museo del Prado by French artists


Marriage Contract and Country Dancing

Prompt: Explain the abstract of this artwork, Marriage Contract and Country Dancing.

Marriage Contract and Country Dancing is a c. 1711 oil-on-canvas painting by French artist Antoine Watteau. It entered the Spanish royal collection as part of the collection of Isabella Farnese and was recorded in the La Granja de San Ildefonso Palace in Segovia. It is now in the Prado Museum, in Madrid. It shows the signing of a marriage contract in a rural landscape.

Category:Paintings in the Museo del Prado by French artists


Marriage Contract and Country Dancing

Prompt: How does Marriage Contract and Country Dancing explain its abstract?

Marriage Contract and Country Dancing is a c. 1711 oil-on-canvas painting by French artist Antoine Watteau. It entered the Spanish royal collection as part of the collection of Isabella Farnese and was recorded in the La Granja de San Ildefonso Palace in Segovia. It is now in the Prado Museum, in Madrid. It shows the signing of a marriage contract in a rural landscape.

Category:Paintings in the Museo del Prado by French artists


Marriage Contract and Country Dancing

Prompt: In Marriage Contract and Country Dancing, how is the abstract discussed?

Marriage Contract and Country Dancing is a c. 1711 oil-on-canvas painting by French artist Antoine Watteau. It entered the Spanish royal collection as part of the collection of Isabella Farnese and was recorded in the La Granja de San Ildefonso Palace in Segovia. It is now in the Prado Museum, in Madrid. It shows the signing of a marriage contract in a rural landscape.

Category:Paintings in the Museo del Prado by French artists


Prompt: Focus on Jeremiah Lamenting the Destruction of Jerusalem and explain the abstract.

Jeremiah Lamenting the Destruction of Jerusalem is a 1630 painting by Rembrandt. It is one of the most renowned works of his Leiden period.

Category:Paintings of Hebrew Bible prophets


Prompt: Explain the abstract of this artwork, Jeremiah Lamenting the Destruction of Jerusalem.

Jeremiah Lamenting the Destruction of Jerusalem is a 1630 painting by Rembrandt. It is one of the most renowned works of his Leiden period.

Category:Paintings of Hebrew Bible prophets


Prompt: How does Jeremiah Lamenting the Destruction of Jerusalem explain its abstract?

Jeremiah Lamenting the Destruction of Jerusalem is a 1630 painting by Rembrandt. It is one of the most renowned works of his Leiden period.

Category:Paintings of Hebrew Bible prophets


Prompt: In Jeremiah Lamenting the Destruction of Jerusalem, how is the abstract discussed?

Jeremiah Lamenting the Destruction of Jerusalem is a 1630 painting by Rembrandt. It is one of the most renowned works of his Leiden period.

Category:Paintings of Hebrew Bible prophets


Prompt: Focus on Jeremiah Lamenting the Destruction of Jerusalem and explain the Reception.

Many art critics have praised Jeremiah Lamenting the Destruction of Jerusalem as one of Rembrandt's few early masterpieces.

Category:Paintings of Hebrew Bible prophets


Prompt: Explain the Reception of this artwork, Jeremiah Lamenting the Destruction of Jerusalem.

Many art critics have praised Jeremiah Lamenting the Destruction of Jerusalem as one of Rembrandt's few early masterpieces.

Category:Paintings of Hebrew Bible prophets


Prompt: How does Jeremiah Lamenting the Destruction of Jerusalem explain its Reception?

Many art critics have praised Jeremiah Lamenting the Destruction of Jerusalem as one of Rembrandt's few early masterpieces.

Category:Paintings of Hebrew Bible prophets


Prompt: In Jeremiah Lamenting the Destruction of Jerusalem, how is the Reception discussed?

Many art critics have praised Jeremiah Lamenting the Destruction of Jerusalem as one of Rembrandt's few early masterpieces.

Category:Paintings of Hebrew Bible prophets


Camille (Monet)

Prompt: Focus on Camille (Monet) and explain the abstract.

Camille, also known as The Woman in the Green Dress, is an 1866 oil-on-canvas painting by French artist Claude Monet. The portrait shows Monet's future wife, Camille Doncieux, wearing a green dress and jacket. Monet submitted the work to the Paris Salon of 1866, where it was well received by critics. The painting is held in the collection of the Kunsthalle Bremen.

Category:Portraits by French artists
Category:Oil on canvas paintings
Claude Monet
Category:Portraits of women
Category:19th-century portraits
Oil painting
Kunsthalle Bremen
Category:1866 paintings
Camille Doncieux
List of paintings by Claude Monet
Oil on canvas
Category:Paintings by Claude Monet


Camille (Monet)

Prompt: Explain the abstract of this artwork, Camille (Monet).

Camille, also known as The Woman in the Green Dress, is an 1866 oil-on-canvas painting by French artist Claude Monet. The portrait shows Monet's future wife, Camille Doncieux, wearing a green dress and jacket. Monet submitted the work to the Paris Salon of 1866, where it was well received by critics. The painting is held in the collection of the Kunsthalle Bremen.

Category:Portraits by French artists
Category:Oil on canvas paintings
Claude Monet
Category:Portraits of women
Category:19th-century portraits
Oil painting
Kunsthalle Bremen
Category:1866 paintings
Camille Doncieux
List of paintings by Claude Monet
Oil on canvas
Category:Paintings by Claude Monet


Camille (Monet)

Prompt: How does Camille (Monet) explain its abstract?

Camille, also known as The Woman in the Green Dress, is an 1866 oil-on-canvas painting by French artist Claude Monet. The portrait shows Monet's future wife, Camille Doncieux, wearing a green dress and jacket. Monet submitted the work to the Paris Salon of 1866, where it was well received by critics. The painting is held in the collection of the Kunsthalle Bremen.

Category:Portraits by French artists
Category:Oil on canvas paintings
Claude Monet
Category:Portraits of women
Category:19th-century portraits
Oil painting
Kunsthalle Bremen
Category:1866 paintings
Camille Doncieux
List of paintings by Claude Monet
Oil on canvas
Category:Paintings by Claude Monet


Camille (Monet)

Prompt: In Camille (Monet), how is the abstract discussed?

Camille, also known as The Woman in the Green Dress, is an 1866 oil-on-canvas painting by French artist Claude Monet. The portrait shows Monet's future wife, Camille Doncieux, wearing a green dress and jacket. Monet submitted the work to the Paris Salon of 1866, where it was well received by critics. The painting is held in the collection of the Kunsthalle Bremen.

Category:Portraits by French artists
Category:Oil on canvas paintings
Claude Monet
Category:Portraits of women
Category:19th-century portraits
Oil painting
Kunsthalle Bremen
Category:1866 paintings
Camille Doncieux
List of paintings by Claude Monet
Oil on canvas
Category:Paintings by Claude Monet


Camille (Monet)

Prompt: Focus on Camille (Monet) and explain the Description.

Camille in the Green Dress is a life size portrait. Camille wears a green and black striped silk dress over a black jacket trimmed with fur. The dress in emerald green corresponds to the fashion of the time with the contrasting vertical stripes. Yellow leather gloves and a dark capote decorated with feathers serve as accessories. Camille wears her hair in a bun tied with black ribbons at the nape of her neck. The background has a dark red, almost black curtain.In the composition of the image, Monet succeeded in conveying movement. The train of the dress has been cut off at its left edge, causing a movement in that direction that goes beyond the edge of the picture. Liveliness is also created by the play of the folds in the skirt. The slightly backward-turned position of the head represents a moment of pause. The figure seems to be listening to herself rather than reacting to someone speaking to her. This is achieved through downcast eyes, thereby avoiding eye contact with the viewer. The painting is signed at lower right: Claude Monet 1866.The lighting is uniquely diffused and its origin is obscure. We see a kind of a semi circle of light surrounding Camille on the floor with the source highlighting her face, hand and skirt. Light is probably coming from a window since it looks too natural to be produced by candles or gas lamps.  The place of the window is hard to tell but it’s probably to the left and in front of her as her shadow is cast to the right, but her face and skirt are still highlighted.

Category:Portraits by French artists
Category:Oil on canvas paintings
Claude Monet
Category:Portraits of women
Category:19th-century portraits
Oil painting
Kunsthalle Bremen
Category:1866 paintings
Camille Doncieux
List of paintings by Claude Monet
Oil on canvas
Category:Paintings by Claude Monet


Camille (Monet)

Prompt: Explain the Description of this artwork, Camille (Monet).

Camille in the Green Dress is a life size portrait. Camille wears a green and black striped silk dress over a black jacket trimmed with fur. The dress in emerald green corresponds to the fashion of the time with the contrasting vertical stripes. Yellow leather gloves and a dark capote decorated with feathers serve as accessories. Camille wears her hair in a bun tied with black ribbons at the nape of her neck. The background has a dark red, almost black curtain.In the composition of the image, Monet succeeded in conveying movement. The train of the dress has been cut off at its left edge, causing a movement in that direction that goes beyond the edge of the picture. Liveliness is also created by the play of the folds in the skirt. The slightly backward-turned position of the head represents a moment of pause. The figure seems to be listening to herself rather than reacting to someone speaking to her. This is achieved through downcast eyes, thereby avoiding eye contact with the viewer. The painting is signed at lower right: Claude Monet 1866.The lighting is uniquely diffused and its origin is obscure. We see a kind of a semi circle of light surrounding Camille on the floor with the source highlighting her face, hand and skirt. Light is probably coming from a window since it looks too natural to be produced by candles or gas lamps.  The place of the window is hard to tell but it’s probably to the left and in front of her as her shadow is cast to the right, but her face and skirt are still highlighted.

Category:Portraits by French artists
Category:Oil on canvas paintings
Claude Monet
Category:Portraits of women
Category:19th-century portraits
Oil painting
Kunsthalle Bremen
Category:1866 paintings
Camille Doncieux
List of paintings by Claude Monet
Oil on canvas
Category:Paintings by Claude Monet


Camille (Monet)

Prompt: How does Camille (Monet) explain its Description?

Camille in the Green Dress is a life size portrait. Camille wears a green and black striped silk dress over a black jacket trimmed with fur. The dress in emerald green corresponds to the fashion of the time with the contrasting vertical stripes. Yellow leather gloves and a dark capote decorated with feathers serve as accessories. Camille wears her hair in a bun tied with black ribbons at the nape of her neck. The background has a dark red, almost black curtain.In the composition of the image, Monet succeeded in conveying movement. The train of the dress has been cut off at its left edge, causing a movement in that direction that goes beyond the edge of the picture. Liveliness is also created by the play of the folds in the skirt. The slightly backward-turned position of the head represents a moment of pause. The figure seems to be listening to herself rather than reacting to someone speaking to her. This is achieved through downcast eyes, thereby avoiding eye contact with the viewer. The painting is signed at lower right: Claude Monet 1866.The lighting is uniquely diffused and its origin is obscure. We see a kind of a semi circle of light surrounding Camille on the floor with the source highlighting her face, hand and skirt. Light is probably coming from a window since it looks too natural to be produced by candles or gas lamps.  The place of the window is hard to tell but it’s probably to the left and in front of her as her shadow is cast to the right, but her face and skirt are still highlighted.

Category:Portraits by French artists
Category:Oil on canvas paintings
Claude Monet
Category:Portraits of women
Category:19th-century portraits
Oil painting
Kunsthalle Bremen
Category:1866 paintings
Camille Doncieux
List of paintings by Claude Monet
Oil on canvas
Category:Paintings by Claude Monet


Camille (Monet)

Prompt: In Camille (Monet), how is the Description discussed?

Camille in the Green Dress is a life size portrait. Camille wears a green and black striped silk dress over a black jacket trimmed with fur. The dress in emerald green corresponds to the fashion of the time with the contrasting vertical stripes. Yellow leather gloves and a dark capote decorated with feathers serve as accessories. Camille wears her hair in a bun tied with black ribbons at the nape of her neck. The background has a dark red, almost black curtain.In the composition of the image, Monet succeeded in conveying movement. The train of the dress has been cut off at its left edge, causing a movement in that direction that goes beyond the edge of the picture. Liveliness is also created by the play of the folds in the skirt. The slightly backward-turned position of the head represents a moment of pause. The figure seems to be listening to herself rather than reacting to someone speaking to her. This is achieved through downcast eyes, thereby avoiding eye contact with the viewer. The painting is signed at lower right: Claude Monet 1866.The lighting is uniquely diffused and its origin is obscure. We see a kind of a semi circle of light surrounding Camille on the floor with the source highlighting her face, hand and skirt. Light is probably coming from a window since it looks too natural to be produced by candles or gas lamps.  The place of the window is hard to tell but it’s probably to the left and in front of her as her shadow is cast to the right, but her face and skirt are still highlighted.

Category:Portraits by French artists
Category:Oil on canvas paintings
Claude Monet
Category:Portraits of women
Category:19th-century portraits
Oil painting
Kunsthalle Bremen
Category:1866 paintings
Camille Doncieux
List of paintings by Claude Monet
Oil on canvas
Category:Paintings by Claude Monet


Spaces with Iron

Prompt: Focus on Spaces with Iron and explain the abstract.

Spaces with Iron is a public sculpture by American artist Will Horwitt. It was installed in January 2009 on the Indiana University-Purdue University Indianapolis (IUPUI) campus, near downtown Indianapolis, Indiana. The sculpture is located at the corner of Blackford and Vermont Streets, on the southeast lawn of the Science Building, and is on long-term loan from the Indianapolis Museum of Art.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: Explain the abstract of this artwork, Spaces with Iron.

Spaces with Iron is a public sculpture by American artist Will Horwitt. It was installed in January 2009 on the Indiana University-Purdue University Indianapolis (IUPUI) campus, near downtown Indianapolis, Indiana. The sculpture is located at the corner of Blackford and Vermont Streets, on the southeast lawn of the Science Building, and is on long-term loan from the Indianapolis Museum of Art.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: How does Spaces with Iron explain its abstract?

Spaces with Iron is a public sculpture by American artist Will Horwitt. It was installed in January 2009 on the Indiana University-Purdue University Indianapolis (IUPUI) campus, near downtown Indianapolis, Indiana. The sculpture is located at the corner of Blackford and Vermont Streets, on the southeast lawn of the Science Building, and is on long-term loan from the Indianapolis Museum of Art.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: In Spaces with Iron, how is the abstract discussed?

Spaces with Iron is a public sculpture by American artist Will Horwitt. It was installed in January 2009 on the Indiana University-Purdue University Indianapolis (IUPUI) campus, near downtown Indianapolis, Indiana. The sculpture is located at the corner of Blackford and Vermont Streets, on the southeast lawn of the Science Building, and is on long-term loan from the Indianapolis Museum of Art.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: Focus on Spaces with Iron and explain the Description.

Spaces with Iron, created in 1972, is made of cast iron and bronze. It measures 54 inches (1.4 m) high, 84 inches (2.1 m) wide, and 68.75 inches (1.746 m) long. The work consists of two open rectangular pieces. One elongated rectangle is cast in bronze; the other piece, almost square, is cast iron. The cast-iron rectangle is taller than the bronze piece, but the bronze piece is wider. Both forms sit upright, parallel to each other, and are connected with an iron piece resting across the bottom of each piece. The sculpture sits on a cylindrical-shaped concrete base. A bronze rectangular cuboid rests on each rectangular piece on the sculpture's proper left side. The edges of both cuboids extend beyond the sides of the rectangular pieces.Spaces with Iron "draws attention to the negative spaces created by the sculpture's openings as well as the environment in which it resides."

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: Explain the Description of this artwork, Spaces with Iron.

Spaces with Iron, created in 1972, is made of cast iron and bronze. It measures 54 inches (1.4 m) high, 84 inches (2.1 m) wide, and 68.75 inches (1.746 m) long. The work consists of two open rectangular pieces. One elongated rectangle is cast in bronze; the other piece, almost square, is cast iron. The cast-iron rectangle is taller than the bronze piece, but the bronze piece is wider. Both forms sit upright, parallel to each other, and are connected with an iron piece resting across the bottom of each piece. The sculpture sits on a cylindrical-shaped concrete base. A bronze rectangular cuboid rests on each rectangular piece on the sculpture's proper left side. The edges of both cuboids extend beyond the sides of the rectangular pieces.Spaces with Iron "draws attention to the negative spaces created by the sculpture's openings as well as the environment in which it resides."

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: How does Spaces with Iron explain its Description?

Spaces with Iron, created in 1972, is made of cast iron and bronze. It measures 54 inches (1.4 m) high, 84 inches (2.1 m) wide, and 68.75 inches (1.746 m) long. The work consists of two open rectangular pieces. One elongated rectangle is cast in bronze; the other piece, almost square, is cast iron. The cast-iron rectangle is taller than the bronze piece, but the bronze piece is wider. Both forms sit upright, parallel to each other, and are connected with an iron piece resting across the bottom of each piece. The sculpture sits on a cylindrical-shaped concrete base. A bronze rectangular cuboid rests on each rectangular piece on the sculpture's proper left side. The edges of both cuboids extend beyond the sides of the rectangular pieces.Spaces with Iron "draws attention to the negative spaces created by the sculpture's openings as well as the environment in which it resides."

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: In Spaces with Iron, how is the Description discussed?

Spaces with Iron, created in 1972, is made of cast iron and bronze. It measures 54 inches (1.4 m) high, 84 inches (2.1 m) wide, and 68.75 inches (1.746 m) long. The work consists of two open rectangular pieces. One elongated rectangle is cast in bronze; the other piece, almost square, is cast iron. The cast-iron rectangle is taller than the bronze piece, but the bronze piece is wider. Both forms sit upright, parallel to each other, and are connected with an iron piece resting across the bottom of each piece. The sculpture sits on a cylindrical-shaped concrete base. A bronze rectangular cuboid rests on each rectangular piece on the sculpture's proper left side. The edges of both cuboids extend beyond the sides of the rectangular pieces.Spaces with Iron "draws attention to the negative spaces created by the sculpture's openings as well as the environment in which it resides."

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: In the context of Spaces with Iron, explain the Acquisition and the Description.

The Indianapolis Museum of Art acquired Spaces with Iron in 1981 through the Helen Benjamin Fund and assigned it accession number 81.220.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: Explain the Acquisition about the Description of this artwork, Spaces with Iron.

The Indianapolis Museum of Art acquired Spaces with Iron in 1981 through the Helen Benjamin Fund and assigned it accession number 81.220.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: In Spaces with Iron, how is the Acquisition of the Description explained?

The Indianapolis Museum of Art acquired Spaces with Iron in 1981 through the Helen Benjamin Fund and assigned it accession number 81.220.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: Describe the characteristics of the Acquisition in Spaces with Iron's Description.

The Indianapolis Museum of Art acquired Spaces with Iron in 1981 through the Helen Benjamin Fund and assigned it accession number 81.220.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: Focus on Spaces with Iron and explain the Artist.

New York City artist Will Horwitt was a modernist sculptor who was born in 1934 and spent his adolescence in Stockbridge, Massachusetts. From 1952 to 1954 he studied at the Art Institute of Chicago. In 1965 he received the Guggenheim Fellowship for creative sculpture. Three years later he was awarded the Tiffany Purchase Grant. New York Times art critic Art Canaday commends Horwitt as "a most gratifying workman...The simplified subtly warped forms in expressive balances are consistently mindful of Brancusi, but that is a good point of departure. Mr. Horwitt comes through as one of the strongest young sculptures around."Horwitt's works appear in many public and private collections, including those of Nelson Rockefeller, Vera and Albert List, and Helen and Robert Benjamin. His sculptures are featured in the Yale University Art Gallery, the Solomon R. Guggenheim Museum, the Wadsworth Atheneum, the Albright-Knox Art Gallery, the Neuberger Museum of Art, the Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, NY, and at IUPUI.Horwitt's works are strongly rooted in geometric forms. His minimalist pieces have been favorably viewed by many critics throughout his career. Horwitt "reflects [on] the dominance of a certain preoccupation with the language of the space and lines that express the evocative forms of both his drawings and sculptures." According to Al Brunelle, writer for Art in America, Horwitt's pieces are, "expressive...they transmit a feeling that is vital and concrete like everyday life experience." His last exhibition was at the Vanderwoude Tananbaum Gallery in New York City. He died of lymphoma in 1985 in New York City at the age of fifty one.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: Explain the Artist of this artwork, Spaces with Iron.

New York City artist Will Horwitt was a modernist sculptor who was born in 1934 and spent his adolescence in Stockbridge, Massachusetts. From 1952 to 1954 he studied at the Art Institute of Chicago. In 1965 he received the Guggenheim Fellowship for creative sculpture. Three years later he was awarded the Tiffany Purchase Grant. New York Times art critic Art Canaday commends Horwitt as "a most gratifying workman...The simplified subtly warped forms in expressive balances are consistently mindful of Brancusi, but that is a good point of departure. Mr. Horwitt comes through as one of the strongest young sculptures around."Horwitt's works appear in many public and private collections, including those of Nelson Rockefeller, Vera and Albert List, and Helen and Robert Benjamin. His sculptures are featured in the Yale University Art Gallery, the Solomon R. Guggenheim Museum, the Wadsworth Atheneum, the Albright-Knox Art Gallery, the Neuberger Museum of Art, the Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, NY, and at IUPUI.Horwitt's works are strongly rooted in geometric forms. His minimalist pieces have been favorably viewed by many critics throughout his career. Horwitt "reflects [on] the dominance of a certain preoccupation with the language of the space and lines that express the evocative forms of both his drawings and sculptures." According to Al Brunelle, writer for Art in America, Horwitt's pieces are, "expressive...they transmit a feeling that is vital and concrete like everyday life experience." His last exhibition was at the Vanderwoude Tananbaum Gallery in New York City. He died of lymphoma in 1985 in New York City at the age of fifty one.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: How does Spaces with Iron explain its Artist?

New York City artist Will Horwitt was a modernist sculptor who was born in 1934 and spent his adolescence in Stockbridge, Massachusetts. From 1952 to 1954 he studied at the Art Institute of Chicago. In 1965 he received the Guggenheim Fellowship for creative sculpture. Three years later he was awarded the Tiffany Purchase Grant. New York Times art critic Art Canaday commends Horwitt as "a most gratifying workman...The simplified subtly warped forms in expressive balances are consistently mindful of Brancusi, but that is a good point of departure. Mr. Horwitt comes through as one of the strongest young sculptures around."Horwitt's works appear in many public and private collections, including those of Nelson Rockefeller, Vera and Albert List, and Helen and Robert Benjamin. His sculptures are featured in the Yale University Art Gallery, the Solomon R. Guggenheim Museum, the Wadsworth Atheneum, the Albright-Knox Art Gallery, the Neuberger Museum of Art, the Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, NY, and at IUPUI.Horwitt's works are strongly rooted in geometric forms. His minimalist pieces have been favorably viewed by many critics throughout his career. Horwitt "reflects [on] the dominance of a certain preoccupation with the language of the space and lines that express the evocative forms of both his drawings and sculptures." According to Al Brunelle, writer for Art in America, Horwitt's pieces are, "expressive...they transmit a feeling that is vital and concrete like everyday life experience." His last exhibition was at the Vanderwoude Tananbaum Gallery in New York City. He died of lymphoma in 1985 in New York City at the age of fifty one.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: In Spaces with Iron, how is the Artist discussed?

New York City artist Will Horwitt was a modernist sculptor who was born in 1934 and spent his adolescence in Stockbridge, Massachusetts. From 1952 to 1954 he studied at the Art Institute of Chicago. In 1965 he received the Guggenheim Fellowship for creative sculpture. Three years later he was awarded the Tiffany Purchase Grant. New York Times art critic Art Canaday commends Horwitt as "a most gratifying workman...The simplified subtly warped forms in expressive balances are consistently mindful of Brancusi, but that is a good point of departure. Mr. Horwitt comes through as one of the strongest young sculptures around."Horwitt's works appear in many public and private collections, including those of Nelson Rockefeller, Vera and Albert List, and Helen and Robert Benjamin. His sculptures are featured in the Yale University Art Gallery, the Solomon R. Guggenheim Museum, the Wadsworth Atheneum, the Albright-Knox Art Gallery, the Neuberger Museum of Art, the Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, NY, and at IUPUI.Horwitt's works are strongly rooted in geometric forms. His minimalist pieces have been favorably viewed by many critics throughout his career. Horwitt "reflects [on] the dominance of a certain preoccupation with the language of the space and lines that express the evocative forms of both his drawings and sculptures." According to Al Brunelle, writer for Art in America, Horwitt's pieces are, "expressive...they transmit a feeling that is vital and concrete like everyday life experience." His last exhibition was at the Vanderwoude Tananbaum Gallery in New York City. He died of lymphoma in 1985 in New York City at the age of fifty one.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: Focus on Spaces with Iron and explain the Location.

Spaces with Iron was acquired by Newfields (formerly the Indianapolis Museum of Art) in 1981. In 1985 it was moved from the southwest corner of the sculpture court to the north of Newfields’ Krannert Pavilion. The sculpture was moved again in 1990 to Newfield's southeastern lawn by the parking lot, to either the north or west side. In late January 2009 it was removed from the Newfields grounds and installed on the IUPUI campus, at the corner of Blackford and Vermont Streets on the southeast lawn of the Science Building.Spaces with Iron is one of four pieces on long-term loan to IUPUI from the Indianapolis Museum of Art. The others are Portrait of History, Mega-Gem, and East Gate/West Gate. Three pieces were transported to IUPUI in January 2009; however, due to its size, East Gate/West Gate was flown by helicopter to campus in March 2009. These pieces and other public art are installed along a portion of the Indianapolis Cultural Trail, a bikeway and pedestrian path that "connects neighborhoods, entertainment facilities and the city's five cultural districts": Indiana Avenue, Massachusetts Avenue, Fountain Square, the Wholesale District, and White River State Park. The Cultural Trail, completed in 2013, connects downtown Indianapolis to Broad Ripple Village via the Monon Trail.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: Explain the Location of this artwork, Spaces with Iron.

Spaces with Iron was acquired by Newfields (formerly the Indianapolis Museum of Art) in 1981. In 1985 it was moved from the southwest corner of the sculpture court to the north of Newfields’ Krannert Pavilion. The sculpture was moved again in 1990 to Newfield's southeastern lawn by the parking lot, to either the north or west side. In late January 2009 it was removed from the Newfields grounds and installed on the IUPUI campus, at the corner of Blackford and Vermont Streets on the southeast lawn of the Science Building.Spaces with Iron is one of four pieces on long-term loan to IUPUI from the Indianapolis Museum of Art. The others are Portrait of History, Mega-Gem, and East Gate/West Gate. Three pieces were transported to IUPUI in January 2009; however, due to its size, East Gate/West Gate was flown by helicopter to campus in March 2009. These pieces and other public art are installed along a portion of the Indianapolis Cultural Trail, a bikeway and pedestrian path that "connects neighborhoods, entertainment facilities and the city's five cultural districts": Indiana Avenue, Massachusetts Avenue, Fountain Square, the Wholesale District, and White River State Park. The Cultural Trail, completed in 2013, connects downtown Indianapolis to Broad Ripple Village via the Monon Trail.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: How does Spaces with Iron explain its Location?

Spaces with Iron was acquired by Newfields (formerly the Indianapolis Museum of Art) in 1981. In 1985 it was moved from the southwest corner of the sculpture court to the north of Newfields’ Krannert Pavilion. The sculpture was moved again in 1990 to Newfield's southeastern lawn by the parking lot, to either the north or west side. In late January 2009 it was removed from the Newfields grounds and installed on the IUPUI campus, at the corner of Blackford and Vermont Streets on the southeast lawn of the Science Building.Spaces with Iron is one of four pieces on long-term loan to IUPUI from the Indianapolis Museum of Art. The others are Portrait of History, Mega-Gem, and East Gate/West Gate. Three pieces were transported to IUPUI in January 2009; however, due to its size, East Gate/West Gate was flown by helicopter to campus in March 2009. These pieces and other public art are installed along a portion of the Indianapolis Cultural Trail, a bikeway and pedestrian path that "connects neighborhoods, entertainment facilities and the city's five cultural districts": Indiana Avenue, Massachusetts Avenue, Fountain Square, the Wholesale District, and White River State Park. The Cultural Trail, completed in 2013, connects downtown Indianapolis to Broad Ripple Village via the Monon Trail.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Spaces with Iron

Prompt: In Spaces with Iron, how is the Location discussed?

Spaces with Iron was acquired by Newfields (formerly the Indianapolis Museum of Art) in 1981. In 1985 it was moved from the southwest corner of the sculpture court to the north of Newfields’ Krannert Pavilion. The sculpture was moved again in 1990 to Newfield's southeastern lawn by the parking lot, to either the north or west side. In late January 2009 it was removed from the Newfields grounds and installed on the IUPUI campus, at the corner of Blackford and Vermont Streets on the southeast lawn of the Science Building.Spaces with Iron is one of four pieces on long-term loan to IUPUI from the Indianapolis Museum of Art. The others are Portrait of History, Mega-Gem, and East Gate/West Gate. Three pieces were transported to IUPUI in January 2009; however, due to its size, East Gate/West Gate was flown by helicopter to campus in March 2009. These pieces and other public art are installed along a portion of the Indianapolis Cultural Trail, a bikeway and pedestrian path that "connects neighborhoods, entertainment facilities and the city's five cultural districts": Indiana Avenue, Massachusetts Avenue, Fountain Square, the Wholesale District, and White River State Park. The Cultural Trail, completed in 2013, connects downtown Indianapolis to Broad Ripple Village via the Monon Trail.

Category:Iron sculptures in the United States

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

Indiana University-Purdue University Indianapolis

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Angkor I

Prompt: Focus on Angkor I and explain the abstract.

Angkor I is an outdoor stainless steel sculpture by Lee Kelly, located at Millennium Plaza Park in Lake Oswego, Oregon, in the United States. The 1994 sculpture stands 14 feet (4.3 m) tall and weighs 1,000 pounds (450 kg), and was influenced by his visit to Southeast Asia one year prior. In 2010, Angkor I appeared in an exhibition of Kelly's work at the Portland Art Museum. In 2011, it was installed at Millennium Plaza Park on loan from the Portland-based Elizabeth Leach Gallery. The Arts Council of Lake Oswego began soliciting donations in 2013 in an attempt to keep the sculpture as part of the city's permanent public art collection, Gallery Without Walls. The fundraising campaign was successful; donations from more than 40 patrons, including major contributions from the Ford Family Foundation and the Oregon Arts Commission, made purchase of the sculpture possible. Angkor I has been called a "recognizable icon" and a "gateway" to the park's lake.

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Angkor I

Prompt: Explain the abstract of this artwork, Angkor I.

Angkor I is an outdoor stainless steel sculpture by Lee Kelly, located at Millennium Plaza Park in Lake Oswego, Oregon, in the United States. The 1994 sculpture stands 14 feet (4.3 m) tall and weighs 1,000 pounds (450 kg), and was influenced by his visit to Southeast Asia one year prior. In 2010, Angkor I appeared in an exhibition of Kelly's work at the Portland Art Museum. In 2011, it was installed at Millennium Plaza Park on loan from the Portland-based Elizabeth Leach Gallery. The Arts Council of Lake Oswego began soliciting donations in 2013 in an attempt to keep the sculpture as part of the city's permanent public art collection, Gallery Without Walls. The fundraising campaign was successful; donations from more than 40 patrons, including major contributions from the Ford Family Foundation and the Oregon Arts Commission, made purchase of the sculpture possible. Angkor I has been called a "recognizable icon" and a "gateway" to the park's lake.

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Angkor I

Prompt: How does Angkor I explain its abstract?

Angkor I is an outdoor stainless steel sculpture by Lee Kelly, located at Millennium Plaza Park in Lake Oswego, Oregon, in the United States. The 1994 sculpture stands 14 feet (4.3 m) tall and weighs 1,000 pounds (450 kg), and was influenced by his visit to Southeast Asia one year prior. In 2010, Angkor I appeared in an exhibition of Kelly's work at the Portland Art Museum. In 2011, it was installed at Millennium Plaza Park on loan from the Portland-based Elizabeth Leach Gallery. The Arts Council of Lake Oswego began soliciting donations in 2013 in an attempt to keep the sculpture as part of the city's permanent public art collection, Gallery Without Walls. The fundraising campaign was successful; donations from more than 40 patrons, including major contributions from the Ford Family Foundation and the Oregon Arts Commission, made purchase of the sculpture possible. Angkor I has been called a "recognizable icon" and a "gateway" to the park's lake.

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Angkor I

Prompt: In Angkor I, how is the abstract discussed?

Angkor I is an outdoor stainless steel sculpture by Lee Kelly, located at Millennium Plaza Park in Lake Oswego, Oregon, in the United States. The 1994 sculpture stands 14 feet (4.3 m) tall and weighs 1,000 pounds (450 kg), and was influenced by his visit to Southeast Asia one year prior. In 2010, Angkor I appeared in an exhibition of Kelly's work at the Portland Art Museum. In 2011, it was installed at Millennium Plaza Park on loan from the Portland-based Elizabeth Leach Gallery. The Arts Council of Lake Oswego began soliciting donations in 2013 in an attempt to keep the sculpture as part of the city's permanent public art collection, Gallery Without Walls. The fundraising campaign was successful; donations from more than 40 patrons, including major contributions from the Ford Family Foundation and the Oregon Arts Commission, made purchase of the sculpture possible. Angkor I has been called a "recognizable icon" and a "gateway" to the park's lake.

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Angkor I

Prompt: Focus on Angkor I and explain the Description and history.

Angkor I was designed by Lee Kelly, an Idaho-born Oregon sculptor whose works are influenced by modernism and abstract impressionism. Created in 1994, Angkor I is a large-scale stainless steel sculpture with a surface that is "gesturally and roughly finished". It stands 14 feet (4.3 m) tall and weighs 1,000 pounds (450 kg). In Living in Sculpture: The Studio Work of Lee Kelly, Paul Sutinen writes that Angkor I, along with Angkor II and Phi Mai, were influenced by Kelly's 1993 visit to Cambodia, Indonesia and Thailand. His visit to the temple complex Angkor Wat inspired the sculpture, as evidenced by its plaque.In October 2010, Kelly moved the sculpture to the Portland Art Museum for his summation exhibit, which was open through January 2011. Later that year, the sculpture was installed at Millennium Plaza Park in Lake Oswego, on loan from Elizabeth Leach Gallery, the Portland-based company which represents Kelly. A board member for the Arts Council of Lake Oswego had initiated the loan proposal to Kelly and the gallery for this public display. According to Nancy Nye, executive director of the council, the sculpture is prominent in the park and "provides a gateway to the lake".

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Angkor I

Prompt: Explain the Description and history of this artwork, Angkor I.

Angkor I was designed by Lee Kelly, an Idaho-born Oregon sculptor whose works are influenced by modernism and abstract impressionism. Created in 1994, Angkor I is a large-scale stainless steel sculpture with a surface that is "gesturally and roughly finished". It stands 14 feet (4.3 m) tall and weighs 1,000 pounds (450 kg). In Living in Sculpture: The Studio Work of Lee Kelly, Paul Sutinen writes that Angkor I, along with Angkor II and Phi Mai, were influenced by Kelly's 1993 visit to Cambodia, Indonesia and Thailand. His visit to the temple complex Angkor Wat inspired the sculpture, as evidenced by its plaque.In October 2010, Kelly moved the sculpture to the Portland Art Museum for his summation exhibit, which was open through January 2011. Later that year, the sculpture was installed at Millennium Plaza Park in Lake Oswego, on loan from Elizabeth Leach Gallery, the Portland-based company which represents Kelly. A board member for the Arts Council of Lake Oswego had initiated the loan proposal to Kelly and the gallery for this public display. According to Nancy Nye, executive director of the council, the sculpture is prominent in the park and "provides a gateway to the lake".

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Angkor I

Prompt: How does Angkor I explain its Description and history?

Angkor I was designed by Lee Kelly, an Idaho-born Oregon sculptor whose works are influenced by modernism and abstract impressionism. Created in 1994, Angkor I is a large-scale stainless steel sculpture with a surface that is "gesturally and roughly finished". It stands 14 feet (4.3 m) tall and weighs 1,000 pounds (450 kg). In Living in Sculpture: The Studio Work of Lee Kelly, Paul Sutinen writes that Angkor I, along with Angkor II and Phi Mai, were influenced by Kelly's 1993 visit to Cambodia, Indonesia and Thailand. His visit to the temple complex Angkor Wat inspired the sculpture, as evidenced by its plaque.In October 2010, Kelly moved the sculpture to the Portland Art Museum for his summation exhibit, which was open through January 2011. Later that year, the sculpture was installed at Millennium Plaza Park in Lake Oswego, on loan from Elizabeth Leach Gallery, the Portland-based company which represents Kelly. A board member for the Arts Council of Lake Oswego had initiated the loan proposal to Kelly and the gallery for this public display. According to Nancy Nye, executive director of the council, the sculpture is prominent in the park and "provides a gateway to the lake".

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Angkor I

Prompt: In Angkor I, how is the Description and history discussed?

Angkor I was designed by Lee Kelly, an Idaho-born Oregon sculptor whose works are influenced by modernism and abstract impressionism. Created in 1994, Angkor I is a large-scale stainless steel sculpture with a surface that is "gesturally and roughly finished". It stands 14 feet (4.3 m) tall and weighs 1,000 pounds (450 kg). In Living in Sculpture: The Studio Work of Lee Kelly, Paul Sutinen writes that Angkor I, along with Angkor II and Phi Mai, were influenced by Kelly's 1993 visit to Cambodia, Indonesia and Thailand. His visit to the temple complex Angkor Wat inspired the sculpture, as evidenced by its plaque.In October 2010, Kelly moved the sculpture to the Portland Art Museum for his summation exhibit, which was open through January 2011. Later that year, the sculpture was installed at Millennium Plaza Park in Lake Oswego, on loan from Elizabeth Leach Gallery, the Portland-based company which represents Kelly. A board member for the Arts Council of Lake Oswego had initiated the loan proposal to Kelly and the gallery for this public display. According to Nancy Nye, executive director of the council, the sculpture is prominent in the park and "provides a gateway to the lake".

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Angkor I

Prompt: In the context of Angkor I, explain the Permanent installation and the Description and history.

In October 2013, Nye began soliciting donations for the purchase of Angkor I, which was scheduled to return to the gallery unless $55,000 could be raised by 5pm on November 1, 2013. Two weeks prior to this deadline, the council had raised $31,750, more than $20,000 short of the asking price.In an interview published by The Oregonian, Nye said, "Lee Kelly is a living legend and the pride of Oregon's artistic community. And his studio is right here in Clackamas County. He's a local treasure." She also wrote in a press release, "It would be a terrible loss to the community to have this sculpture removed, but it's fast becoming a reality". The council's board chair, Shari Newman, also stressed the urgent need for financial assistance, saying "We're more than halfway there, but what we really need is a handful of lead donors to step forward and make this important work a permanent part of the City's collection. And we need them now." During the final two weeks of the fundraising campaign, the council draped a black parachute over the sculpture and posted signs requesting financial assistance, such as "Unless someone like you cares a whole awful lot, this sculpture is leaving... Let's hope it's not."On November 1, The Oregonian reported that the council's director was certain enough money had been raised to keep Angkor I in Lake Oswego permanently, as part of its Gallery Without Walls public art program, though the exact amount of funds raised was uncertain. The Arts Council of Lake Oswego confirmed the purchase via social media on November 5. Kelly and the Elizabeth Leach Gallery each donated $5,000, and the Ford Family Foundation and the Oregon Arts Commission had awarded a $10,000 matching grant in May 2013. All funding was provided by private businesses, foundations and individuals; none came from city or state funds. Portland Tribune and The Oregonian both published comments from Nye, in which she expressed delight about the addition to Lake Oswego's public art collection and providing access to the "fine" and "magnificent" work for future generations. The council planned a commemoration ceremony at the sculpture's permanent location; expected attendees were Kelly, Mayor Kent Studebaker, and members of the Ford Family Foundation and the Oregon Arts Commission. On November 7, sister publications Lake Oswego Review and Portland Tribune published a "reader's letter" written by Nye, in which she thanked the more than 40 funders who helped purchase Angkor I.

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Angkor I

Prompt: Explain the Permanent installation about the Description and history of this artwork, Angkor I.

In October 2013, Nye began soliciting donations for the purchase of Angkor I, which was scheduled to return to the gallery unless $55,000 could be raised by 5pm on November 1, 2013. Two weeks prior to this deadline, the council had raised $31,750, more than $20,000 short of the asking price.In an interview published by The Oregonian, Nye said, "Lee Kelly is a living legend and the pride of Oregon's artistic community. And his studio is right here in Clackamas County. He's a local treasure." She also wrote in a press release, "It would be a terrible loss to the community to have this sculpture removed, but it's fast becoming a reality". The council's board chair, Shari Newman, also stressed the urgent need for financial assistance, saying "We're more than halfway there, but what we really need is a handful of lead donors to step forward and make this important work a permanent part of the City's collection. And we need them now." During the final two weeks of the fundraising campaign, the council draped a black parachute over the sculpture and posted signs requesting financial assistance, such as "Unless someone like you cares a whole awful lot, this sculpture is leaving... Let's hope it's not."On November 1, The Oregonian reported that the council's director was certain enough money had been raised to keep Angkor I in Lake Oswego permanently, as part of its Gallery Without Walls public art program, though the exact amount of funds raised was uncertain. The Arts Council of Lake Oswego confirmed the purchase via social media on November 5. Kelly and the Elizabeth Leach Gallery each donated $5,000, and the Ford Family Foundation and the Oregon Arts Commission had awarded a $10,000 matching grant in May 2013. All funding was provided by private businesses, foundations and individuals; none came from city or state funds. Portland Tribune and The Oregonian both published comments from Nye, in which she expressed delight about the addition to Lake Oswego's public art collection and providing access to the "fine" and "magnificent" work for future generations. The council planned a commemoration ceremony at the sculpture's permanent location; expected attendees were Kelly, Mayor Kent Studebaker, and members of the Ford Family Foundation and the Oregon Arts Commission. On November 7, sister publications Lake Oswego Review and Portland Tribune published a "reader's letter" written by Nye, in which she thanked the more than 40 funders who helped purchase Angkor I.

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Angkor I

Prompt: In Angkor I, how is the Permanent installation of the Description and history explained?

In October 2013, Nye began soliciting donations for the purchase of Angkor I, which was scheduled to return to the gallery unless $55,000 could be raised by 5pm on November 1, 2013. Two weeks prior to this deadline, the council had raised $31,750, more than $20,000 short of the asking price.In an interview published by The Oregonian, Nye said, "Lee Kelly is a living legend and the pride of Oregon's artistic community. And his studio is right here in Clackamas County. He's a local treasure." She also wrote in a press release, "It would be a terrible loss to the community to have this sculpture removed, but it's fast becoming a reality". The council's board chair, Shari Newman, also stressed the urgent need for financial assistance, saying "We're more than halfway there, but what we really need is a handful of lead donors to step forward and make this important work a permanent part of the City's collection. And we need them now." During the final two weeks of the fundraising campaign, the council draped a black parachute over the sculpture and posted signs requesting financial assistance, such as "Unless someone like you cares a whole awful lot, this sculpture is leaving... Let's hope it's not."On November 1, The Oregonian reported that the council's director was certain enough money had been raised to keep Angkor I in Lake Oswego permanently, as part of its Gallery Without Walls public art program, though the exact amount of funds raised was uncertain. The Arts Council of Lake Oswego confirmed the purchase via social media on November 5. Kelly and the Elizabeth Leach Gallery each donated $5,000, and the Ford Family Foundation and the Oregon Arts Commission had awarded a $10,000 matching grant in May 2013. All funding was provided by private businesses, foundations and individuals; none came from city or state funds. Portland Tribune and The Oregonian both published comments from Nye, in which she expressed delight about the addition to Lake Oswego's public art collection and providing access to the "fine" and "magnificent" work for future generations. The council planned a commemoration ceremony at the sculpture's permanent location; expected attendees were Kelly, Mayor Kent Studebaker, and members of the Ford Family Foundation and the Oregon Arts Commission. On November 7, sister publications Lake Oswego Review and Portland Tribune published a "reader's letter" written by Nye, in which she thanked the more than 40 funders who helped purchase Angkor I.

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Angkor I

Prompt: Describe the characteristics of the Permanent installation in Angkor I's Description and history.

In October 2013, Nye began soliciting donations for the purchase of Angkor I, which was scheduled to return to the gallery unless $55,000 could be raised by 5pm on November 1, 2013. Two weeks prior to this deadline, the council had raised $31,750, more than $20,000 short of the asking price.In an interview published by The Oregonian, Nye said, "Lee Kelly is a living legend and the pride of Oregon's artistic community. And his studio is right here in Clackamas County. He's a local treasure." She also wrote in a press release, "It would be a terrible loss to the community to have this sculpture removed, but it's fast becoming a reality". The council's board chair, Shari Newman, also stressed the urgent need for financial assistance, saying "We're more than halfway there, but what we really need is a handful of lead donors to step forward and make this important work a permanent part of the City's collection. And we need them now." During the final two weeks of the fundraising campaign, the council draped a black parachute over the sculpture and posted signs requesting financial assistance, such as "Unless someone like you cares a whole awful lot, this sculpture is leaving... Let's hope it's not."On November 1, The Oregonian reported that the council's director was certain enough money had been raised to keep Angkor I in Lake Oswego permanently, as part of its Gallery Without Walls public art program, though the exact amount of funds raised was uncertain. The Arts Council of Lake Oswego confirmed the purchase via social media on November 5. Kelly and the Elizabeth Leach Gallery each donated $5,000, and the Ford Family Foundation and the Oregon Arts Commission had awarded a $10,000 matching grant in May 2013. All funding was provided by private businesses, foundations and individuals; none came from city or state funds. Portland Tribune and The Oregonian both published comments from Nye, in which she expressed delight about the addition to Lake Oswego's public art collection and providing access to the "fine" and "magnificent" work for future generations. The council planned a commemoration ceremony at the sculpture's permanent location; expected attendees were Kelly, Mayor Kent Studebaker, and members of the Ford Family Foundation and the Oregon Arts Commission. On November 7, sister publications Lake Oswego Review and Portland Tribune published a "reader's letter" written by Nye, in which she thanked the more than 40 funders who helped purchase Angkor I.

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Angkor I

Prompt: Focus on Angkor I and explain the Reception.

art ltd. magazine said Angkor I's "reflective surfaces, ground in sweeping gestures, are as important as its form." According to Nye, the sculpture "has become a recognizable icon". In her press release, which was published during her fundraising campaign, she wrote: "People often comment that its placement creates a gateway, or window to the lake. If Angkor I is removed, it will leave a real void in the landscape."

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Angkor I

Prompt: Explain the Reception of this artwork, Angkor I.

art ltd. magazine said Angkor I's "reflective surfaces, ground in sweeping gestures, are as important as its form." According to Nye, the sculpture "has become a recognizable icon". In her press release, which was published during her fundraising campaign, she wrote: "People often comment that its placement creates a gateway, or window to the lake. If Angkor I is removed, it will leave a real void in the landscape."

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Angkor I

Prompt: How does Angkor I explain its Reception?

art ltd. magazine said Angkor I's "reflective surfaces, ground in sweeping gestures, are as important as its form." According to Nye, the sculpture "has become a recognizable icon". In her press release, which was published during her fundraising campaign, she wrote: "People often comment that its placement creates a gateway, or window to the lake. If Angkor I is removed, it will leave a real void in the landscape."

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Angkor I

Prompt: In Angkor I, how is the Reception discussed?

art ltd. magazine said Angkor I's "reflective surfaces, ground in sweeping gestures, are as important as its form." According to Nye, the sculpture "has become a recognizable icon". In her press release, which was published during her fundraising campaign, she wrote: "People often comment that its placement creates a gateway, or window to the lake. If Angkor I is removed, it will leave a real void in the landscape."

List of public art in Lake Oswego, Oregon

Category:Stainless steel sculptures in Oregon


Wall of Respect

Prompt: Focus on Wall of Respect and explain the abstract.

The Wall of Respect was an outdoor mural first painted in 1967 by the Visual Arts Workshop of the Organization of Black American Culture (OBAC). It is considered the first large-scale, outdoor community mural, which spawned a movement across the U.S. and internationally.  The mural represented the contributions of fourteen designers, photographers, painters, and others, notably Chicago muralist William Walker, in a design layout proposed by Laini (Sylvia) Abernathy. Some of the artists would go on to found the influential AfriCOBRA artists collective. The work comprised a montage of portraits of heroes and heroines of African American history painted on the sides of two story, closed tavern building at the corner of Chicago's East 43rd Street and South Langley Avenue, in Bronzeville, Chicago, sometimes called the Black Belt. Images included Nat Turner, Elijah Muhammad, Malcolm X, Muhammad Ali, Gwendolyn Brooks, W.E.B. Dubois, Marcus Garvey, Aretha Franklin, and Harriet Tubman, among others.While it only lasted a few years, until the building was torn down in 1972, it inspired community mural projects across the United States and internationally.Wall of Respect was an example of the Black Arts Movement, an artistic school associated with the Black Power Movement. The scholarly journal Science & Society underscored the significance of the Wall of Respect as "the first collective street mural", in the "important subject [of] the recently emerged street art movement." The Wall became famous as a "revolutionary political artwork of black liberation". Soon after its creation, a six-page feature spread in  Ebony magazine brought it to the attention of African Americans nationwide. It became a source of inspiration and pride for the black community. For some, the Wall represented not only artistic freedom, but the freedom and liberation that could be obtained as a result of the Civil Rights Movement. However, soon after its creation, increasingly polarized interpretations of heroic action within the African American community caused conflict over the paintings, notably with the replacement by artist Eugene Eda of more defiant leaders and symbols, such as the fist of the Black Power Movement.  In addition, "The Wall" served as the backdrop for community protests, speeches, outdoor poetry readings, street theater productions, and community events.Wall of Respect catalyzed a larger mural movement in Chicago and across the United States. Chicago is known for the plethora of murals in cultural neighborhoods. The explosion of murals throughout Chicago is due, in part, to the creation of the Wall of Respect.  By 1975 at least 200 large outdoor murals existed mostly in African American Neighborhoods.  The Wall of Respect's success also sparked a movement of large open-air neighborhood mural paintings across to the United States.  In the eight years following the Wall's unveiling, more than 1,500 murals were painted, many taking the same name, or variations beginning with, Wall of . . ..After a 1971 fire damaged the building on which the Wall of Respect was painted, the entire structure was torn down and the mural thus destroyed. One of the few remaining pieces of The Wall is a smaller panel that consisted of an affixed photograph of Amiri Baraka by Darryl Cowherd, such panels were interspersed among the larger paintings. The larger mural also visually lived on in photography, particularly, the studies by OBAC photographer, Robert A. Sengstacke. For a time forgotten by the mainstream art world, the Wall of Respect continues to be an important cultural reference point for local community members and the subject of scholarly inquiry. Recent efforts, such as an online exhibit organized by the Block Museum at Northwestern University (which includes a clickable map of the Wall's individual portraits), and the edited volume, The Wall of Respect: Public Art and Black Liberation in 1960s Chicago (Northwestern University Press, 2017), aim to recover the Wall's history and make it accessible again.

Category:1967 establishments in Illinois

Category:Buildings and structures demolished in 1971

Category:1971 disestablishments in Illinois


Wall of Respect

Prompt: Explain the abstract of this artwork, Wall of Respect.

The Wall of Respect was an outdoor mural first painted in 1967 by the Visual Arts Workshop of the Organization of Black American Culture (OBAC). It is considered the first large-scale, outdoor community mural, which spawned a movement across the U.S. and internationally.  The mural represented the contributions of fourteen designers, photographers, painters, and others, notably Chicago muralist William Walker, in a design layout proposed by Laini (Sylvia) Abernathy. Some of the artists would go on to found the influential AfriCOBRA artists collective. The work comprised a montage of portraits of heroes and heroines of African American history painted on the sides of two story, closed tavern building at the corner of Chicago's East 43rd Street and South Langley Avenue, in Bronzeville, Chicago, sometimes called the Black Belt. Images included Nat Turner, Elijah Muhammad, Malcolm X, Muhammad Ali, Gwendolyn Brooks, W.E.B. Dubois, Marcus Garvey, Aretha Franklin, and Harriet Tubman, among others.While it only lasted a few years, until the building was torn down in 1972, it inspired community mural projects across the United States and internationally.Wall of Respect was an example of the Black Arts Movement, an artistic school associated with the Black Power Movement. The scholarly journal Science & Society underscored the significance of the Wall of Respect as "the first collective street mural", in the "important subject [of] the recently emerged street art movement." The Wall became famous as a "revolutionary political artwork of black liberation". Soon after its creation, a six-page feature spread in  Ebony magazine brought it to the attention of African Americans nationwide. It became a source of inspiration and pride for the black community. For some, the Wall represented not only artistic freedom, but the freedom and liberation that could be obtained as a result of the Civil Rights Movement. However, soon after its creation, increasingly polarized interpretations of heroic action within the African American community caused conflict over the paintings, notably with the replacement by artist Eugene Eda of more defiant leaders and symbols, such as the fist of the Black Power Movement.  In addition, "The Wall" served as the backdrop for community protests, speeches, outdoor poetry readings, street theater productions, and community events.Wall of Respect catalyzed a larger mural movement in Chicago and across the United States. Chicago is known for the plethora of murals in cultural neighborhoods. The explosion of murals throughout Chicago is due, in part, to the creation of the Wall of Respect.  By 1975 at least 200 large outdoor murals existed mostly in African American Neighborhoods.  The Wall of Respect's success also sparked a movement of large open-air neighborhood mural paintings across to the United States.  In the eight years following the Wall's unveiling, more than 1,500 murals were painted, many taking the same name, or variations beginning with, Wall of . . ..After a 1971 fire damaged the building on which the Wall of Respect was painted, the entire structure was torn down and the mural thus destroyed. One of the few remaining pieces of The Wall is a smaller panel that consisted of an affixed photograph of Amiri Baraka by Darryl Cowherd, such panels were interspersed among the larger paintings. The larger mural also visually lived on in photography, particularly, the studies by OBAC photographer, Robert A. Sengstacke. For a time forgotten by the mainstream art world, the Wall of Respect continues to be an important cultural reference point for local community members and the subject of scholarly inquiry. Recent efforts, such as an online exhibit organized by the Block Museum at Northwestern University (which includes a clickable map of the Wall's individual portraits), and the edited volume, The Wall of Respect: Public Art and Black Liberation in 1960s Chicago (Northwestern University Press, 2017), aim to recover the Wall's history and make it accessible again.

Category:1967 establishments in Illinois

Category:Buildings and structures demolished in 1971

Category:1971 disestablishments in Illinois