The Canal du Loing (painting)

Prompt: Focus on The Canal du Loing (painting) and explain the abstract.

The Canal du Loing or The Canal du Loing at Moret is an 1892 painting by Alfred Sisley, donated to the Musée du Luxembourg after the painter's death in 1899 by a group of the painter's friends headed by Claude Monet. It is now in the Musée d'Orsay (INV 20723). A similar work, painted in winter 1891, is now in the National Museum of Fine Arts of Algiers.

The Red Sea Sharks
Category:Canal du Loing
The Canal du Loing in Winter
Alfred Sisley
Pierre Gandon
Category:Paintings in the Musée d'Orsay
Moret-sur-Loing
Musée d'Orsay
Category:Oil on canvas paintings
intaglio
Claude Monet
Adolphe Tavernier
Musée du Luxembourg
Gustave Geffroy
Seine
List of paintings by Alfred Sisley
Coke en stock
National Museum of Fine Arts of Algiers
Richard Shone
intaglio (printmaking)
Hergé
Category:Paintings by Alfred Sisley
Category:1892 paintings
Sylvie Patin
Loing
A similar work
Category:Rivers in art


The Canal du Loing (painting)

Prompt: Explain the abstract of this artwork, The Canal du Loing (painting).

The Canal du Loing or The Canal du Loing at Moret is an 1892 painting by Alfred Sisley, donated to the Musée du Luxembourg after the painter's death in 1899 by a group of the painter's friends headed by Claude Monet. It is now in the Musée d'Orsay (INV 20723). A similar work, painted in winter 1891, is now in the National Museum of Fine Arts of Algiers.

The Red Sea Sharks
Category:Canal du Loing
The Canal du Loing in Winter
Alfred Sisley
Pierre Gandon
Category:Paintings in the Musée d'Orsay
Moret-sur-Loing
Musée d'Orsay
Category:Oil on canvas paintings
intaglio
Claude Monet
Adolphe Tavernier
Musée du Luxembourg
Gustave Geffroy
Seine
List of paintings by Alfred Sisley
Coke en stock
National Museum of Fine Arts of Algiers
Richard Shone
intaglio (printmaking)
Hergé
Category:Paintings by Alfred Sisley
Category:1892 paintings
Sylvie Patin
Loing
A similar work
Category:Rivers in art


The Canal du Loing (painting)

Prompt: How does The Canal du Loing (painting) explain its abstract?

The Canal du Loing or The Canal du Loing at Moret is an 1892 painting by Alfred Sisley, donated to the Musée du Luxembourg after the painter's death in 1899 by a group of the painter's friends headed by Claude Monet. It is now in the Musée d'Orsay (INV 20723). A similar work, painted in winter 1891, is now in the National Museum of Fine Arts of Algiers.

The Red Sea Sharks
Category:Canal du Loing
The Canal du Loing in Winter
Alfred Sisley
Pierre Gandon
Category:Paintings in the Musée d'Orsay
Moret-sur-Loing
Musée d'Orsay
Category:Oil on canvas paintings
intaglio
Claude Monet
Adolphe Tavernier
Musée du Luxembourg
Gustave Geffroy
Seine
List of paintings by Alfred Sisley
Coke en stock
National Museum of Fine Arts of Algiers
Richard Shone
intaglio (printmaking)
Hergé
Category:Paintings by Alfred Sisley
Category:1892 paintings
Sylvie Patin
Loing
A similar work
Category:Rivers in art


The Canal du Loing (painting)

Prompt: In The Canal du Loing (painting), how is the abstract discussed?

The Canal du Loing or The Canal du Loing at Moret is an 1892 painting by Alfred Sisley, donated to the Musée du Luxembourg after the painter's death in 1899 by a group of the painter's friends headed by Claude Monet. It is now in the Musée d'Orsay (INV 20723). A similar work, painted in winter 1891, is now in the National Museum of Fine Arts of Algiers.

The Red Sea Sharks
Category:Canal du Loing
The Canal du Loing in Winter
Alfred Sisley
Pierre Gandon
Category:Paintings in the Musée d'Orsay
Moret-sur-Loing
Musée d'Orsay
Category:Oil on canvas paintings
intaglio
Claude Monet
Adolphe Tavernier
Musée du Luxembourg
Gustave Geffroy
Seine
List of paintings by Alfred Sisley
Coke en stock
National Museum of Fine Arts of Algiers
Richard Shone
intaglio (printmaking)
Hergé
Category:Paintings by Alfred Sisley
Category:1892 paintings
Sylvie Patin
Loing
A similar work
Category:Rivers in art


The Canal du Loing (painting)

Prompt: Focus on The Canal du Loing (painting) and explain the Production.

It was produced after Sisley settled in Moret-sur-Loing for good. The town was criss-crossed by several watercourses, notably the picturesque river Loing, the left tributary of the Seine. The Canal du Loing is no longer bordered by trees as shown. Sisley commented to Adolphe Tavernier the same year as painting the work "the sky can never be merely a background [...] I emphasize this part of a landscape because I would like to  make you understand the importance I attach to it. [...] I always begin a picture with the sky".Gustave Geffroy described another painting of the same subject by Sisley: "I paint a winter day, frosty and sunny. The ground, the sky, the canal, the fine skeleton of the trees, all is mauve, phasing towards pink, the air is gilded. Three parallel roads, developed in depth, lead to a distant background lined with poplars. Beside the metallic water meander a dark man and a clear horse, both tiny next to the sparkling hedge, burning with colour. The atmosphere is so pure that if the dark man uttered a cry, the three ways and the canal would carry the echo to the vaults of the world."

The Red Sea Sharks
Category:Canal du Loing
The Canal du Loing in Winter
Alfred Sisley
Pierre Gandon
Category:Paintings in the Musée d'Orsay
Moret-sur-Loing
Musée d'Orsay
Category:Oil on canvas paintings
intaglio
Claude Monet
Adolphe Tavernier
Musée du Luxembourg
Gustave Geffroy
Seine
List of paintings by Alfred Sisley
Coke en stock
National Museum of Fine Arts of Algiers
Richard Shone
intaglio (printmaking)
Hergé
Category:Paintings by Alfred Sisley
Category:1892 paintings
Sylvie Patin
Loing
A similar work
Category:Rivers in art


The Canal du Loing (painting)

Prompt: Explain the Production of this artwork, The Canal du Loing (painting).

It was produced after Sisley settled in Moret-sur-Loing for good. The town was criss-crossed by several watercourses, notably the picturesque river Loing, the left tributary of the Seine. The Canal du Loing is no longer bordered by trees as shown. Sisley commented to Adolphe Tavernier the same year as painting the work "the sky can never be merely a background [...] I emphasize this part of a landscape because I would like to  make you understand the importance I attach to it. [...] I always begin a picture with the sky".Gustave Geffroy described another painting of the same subject by Sisley: "I paint a winter day, frosty and sunny. The ground, the sky, the canal, the fine skeleton of the trees, all is mauve, phasing towards pink, the air is gilded. Three parallel roads, developed in depth, lead to a distant background lined with poplars. Beside the metallic water meander a dark man and a clear horse, both tiny next to the sparkling hedge, burning with colour. The atmosphere is so pure that if the dark man uttered a cry, the three ways and the canal would carry the echo to the vaults of the world."

The Red Sea Sharks
Category:Canal du Loing
The Canal du Loing in Winter
Alfred Sisley
Pierre Gandon
Category:Paintings in the Musée d'Orsay
Moret-sur-Loing
Musée d'Orsay
Category:Oil on canvas paintings
intaglio
Claude Monet
Adolphe Tavernier
Musée du Luxembourg
Gustave Geffroy
Seine
List of paintings by Alfred Sisley
Coke en stock
National Museum of Fine Arts of Algiers
Richard Shone
intaglio (printmaking)
Hergé
Category:Paintings by Alfred Sisley
Category:1892 paintings
Sylvie Patin
Loing
A similar work
Category:Rivers in art


The Canal du Loing (painting)

Prompt: How does The Canal du Loing (painting) explain its Production?

It was produced after Sisley settled in Moret-sur-Loing for good. The town was criss-crossed by several watercourses, notably the picturesque river Loing, the left tributary of the Seine. The Canal du Loing is no longer bordered by trees as shown. Sisley commented to Adolphe Tavernier the same year as painting the work "the sky can never be merely a background [...] I emphasize this part of a landscape because I would like to  make you understand the importance I attach to it. [...] I always begin a picture with the sky".Gustave Geffroy described another painting of the same subject by Sisley: "I paint a winter day, frosty and sunny. The ground, the sky, the canal, the fine skeleton of the trees, all is mauve, phasing towards pink, the air is gilded. Three parallel roads, developed in depth, lead to a distant background lined with poplars. Beside the metallic water meander a dark man and a clear horse, both tiny next to the sparkling hedge, burning with colour. The atmosphere is so pure that if the dark man uttered a cry, the three ways and the canal would carry the echo to the vaults of the world."

The Red Sea Sharks
Category:Canal du Loing
The Canal du Loing in Winter
Alfred Sisley
Pierre Gandon
Category:Paintings in the Musée d'Orsay
Moret-sur-Loing
Musée d'Orsay
Category:Oil on canvas paintings
intaglio
Claude Monet
Adolphe Tavernier
Musée du Luxembourg
Gustave Geffroy
Seine
List of paintings by Alfred Sisley
Coke en stock
National Museum of Fine Arts of Algiers
Richard Shone
intaglio (printmaking)
Hergé
Category:Paintings by Alfred Sisley
Category:1892 paintings
Sylvie Patin
Loing
A similar work
Category:Rivers in art


The Canal du Loing (painting)

Prompt: In The Canal du Loing (painting), how is the Production discussed?

It was produced after Sisley settled in Moret-sur-Loing for good. The town was criss-crossed by several watercourses, notably the picturesque river Loing, the left tributary of the Seine. The Canal du Loing is no longer bordered by trees as shown. Sisley commented to Adolphe Tavernier the same year as painting the work "the sky can never be merely a background [...] I emphasize this part of a landscape because I would like to  make you understand the importance I attach to it. [...] I always begin a picture with the sky".Gustave Geffroy described another painting of the same subject by Sisley: "I paint a winter day, frosty and sunny. The ground, the sky, the canal, the fine skeleton of the trees, all is mauve, phasing towards pink, the air is gilded. Three parallel roads, developed in depth, lead to a distant background lined with poplars. Beside the metallic water meander a dark man and a clear horse, both tiny next to the sparkling hedge, burning with colour. The atmosphere is so pure that if the dark man uttered a cry, the three ways and the canal would carry the echo to the vaults of the world."

The Red Sea Sharks
Category:Canal du Loing
The Canal du Loing in Winter
Alfred Sisley
Pierre Gandon
Category:Paintings in the Musée d'Orsay
Moret-sur-Loing
Musée d'Orsay
Category:Oil on canvas paintings
intaglio
Claude Monet
Adolphe Tavernier
Musée du Luxembourg
Gustave Geffroy
Seine
List of paintings by Alfred Sisley
Coke en stock
National Museum of Fine Arts of Algiers
Richard Shone
intaglio (printmaking)
Hergé
Category:Paintings by Alfred Sisley
Category:1892 paintings
Sylvie Patin
Loing
A similar work
Category:Rivers in art


The Canal du Loing (painting)

Prompt: Focus on The Canal du Loing (painting) and explain the Reception.

Hergé's 1958 Coke en stock includes Captain Haddock acquiring the painting reflecting Hergé's interest in painting at this time. It also formed part of the French Post's  Year of Impressionism via a stamp with an intaglio reproduction of the painting by Pierre Gandon.

The Red Sea Sharks
Category:Canal du Loing
The Canal du Loing in Winter
Alfred Sisley
Pierre Gandon
Category:Paintings in the Musée d'Orsay
Moret-sur-Loing
Musée d'Orsay
Category:Oil on canvas paintings
intaglio
Claude Monet
Adolphe Tavernier
Musée du Luxembourg
Gustave Geffroy
Seine
List of paintings by Alfred Sisley
Coke en stock
National Museum of Fine Arts of Algiers
Richard Shone
intaglio (printmaking)
Hergé
Category:Paintings by Alfred Sisley
Category:1892 paintings
Sylvie Patin
Loing
A similar work
Category:Rivers in art


The Canal du Loing (painting)

Prompt: Explain the Reception of this artwork, The Canal du Loing (painting).

Hergé's 1958 Coke en stock includes Captain Haddock acquiring the painting reflecting Hergé's interest in painting at this time. It also formed part of the French Post's  Year of Impressionism via a stamp with an intaglio reproduction of the painting by Pierre Gandon.

The Red Sea Sharks
Category:Canal du Loing
The Canal du Loing in Winter
Alfred Sisley
Pierre Gandon
Category:Paintings in the Musée d'Orsay
Moret-sur-Loing
Musée d'Orsay
Category:Oil on canvas paintings
intaglio
Claude Monet
Adolphe Tavernier
Musée du Luxembourg
Gustave Geffroy
Seine
List of paintings by Alfred Sisley
Coke en stock
National Museum of Fine Arts of Algiers
Richard Shone
intaglio (printmaking)
Hergé
Category:Paintings by Alfred Sisley
Category:1892 paintings
Sylvie Patin
Loing
A similar work
Category:Rivers in art


The Canal du Loing (painting)

Prompt: How does The Canal du Loing (painting) explain its Reception?

Hergé's 1958 Coke en stock includes Captain Haddock acquiring the painting reflecting Hergé's interest in painting at this time. It also formed part of the French Post's  Year of Impressionism via a stamp with an intaglio reproduction of the painting by Pierre Gandon.

The Red Sea Sharks
Category:Canal du Loing
The Canal du Loing in Winter
Alfred Sisley
Pierre Gandon
Category:Paintings in the Musée d'Orsay
Moret-sur-Loing
Musée d'Orsay
Category:Oil on canvas paintings
intaglio
Claude Monet
Adolphe Tavernier
Musée du Luxembourg
Gustave Geffroy
Seine
List of paintings by Alfred Sisley
Coke en stock
National Museum of Fine Arts of Algiers
Richard Shone
intaglio (printmaking)
Hergé
Category:Paintings by Alfred Sisley
Category:1892 paintings
Sylvie Patin
Loing
A similar work
Category:Rivers in art


The Canal du Loing (painting)

Prompt: In The Canal du Loing (painting), how is the Reception discussed?

Hergé's 1958 Coke en stock includes Captain Haddock acquiring the painting reflecting Hergé's interest in painting at this time. It also formed part of the French Post's  Year of Impressionism via a stamp with an intaglio reproduction of the painting by Pierre Gandon.

The Red Sea Sharks
Category:Canal du Loing
The Canal du Loing in Winter
Alfred Sisley
Pierre Gandon
Category:Paintings in the Musée d'Orsay
Moret-sur-Loing
Musée d'Orsay
Category:Oil on canvas paintings
intaglio
Claude Monet
Adolphe Tavernier
Musée du Luxembourg
Gustave Geffroy
Seine
List of paintings by Alfred Sisley
Coke en stock
National Museum of Fine Arts of Algiers
Richard Shone
intaglio (printmaking)
Hergé
Category:Paintings by Alfred Sisley
Category:1892 paintings
Sylvie Patin
Loing
A similar work
Category:Rivers in art


Memorial To A Marriage

Prompt: Focus on Memorial To A Marriage and explain the abstract.

Memorial To A Marriage (2002) is the first marriage equality monument worldwide.Created by American artist Patricia Cronin as part of a series of works redressing the absence of female and LGBTQ+ representation in public monuments and the prohibition of same sex marriage in the United States, this three-ton Carrara marble monumental statue is a double full figure portrait of the artist and her then partner (now wife) artist Deborah Kass, recumbent embracing on an inclined mattress, on a shared pillow in marital bliss and eternal rest. As an act of political resistance of being denied representation in public civic space by municipal leadership and denied personal liberty by the federal government, Cronin reinterprets sepulchral sculptural portraiture in the canon of Western art history by modeling and carving their likenesses in the patriotic form of 19th century American neo-classical sculpture to address a local and federal governmental failures.Inspired by a range of art historical references from the Ancient sculpture Sleeping Hermaphrodite to 19th-century French painter, Gustove Courbet's The Sleep (1866) to American sculptor Harriet Hosmer's Beatrice Cenci, to William Henry Reinhart's Sleeping Children. It has also been pointed out that Cronin in titling the work was citing Lincoln Kirstein's book by the same title, Memorial To A Marriage on Augustus Saint-Gaudens' Adams Memorial sculpture.Prior to the Supreme Court's Obergefell v. Hodges decision on June 26, 2015, over turning the Defense of Marriage Act making the United States only the 29th country out of 195 countries worldwide legalizing same sex marriage, the only legal path for same sex couples to attain a few of the 1200 legal protections heterosexual marriage includes was to hire lawyers to draw up wills, health care proxies and powers of attorney documents. The only purpose for these documents is about attending to events at the end of one's life, not celebrating the beginning of a life together.Using the trope of death, all she was legally allowed, Cronin created an equally poetic and political conceptual artistic protest. The art historian Robert Rosenblum described the work as "so imaginative a leap into an artist's personal life and so revolutionary a monument in terms of social history that it demands a full-scale monograph." He named the installation as one of the ten best shows of 2003 in Artforum.She bought their joint burial plot for the installation in at Woodlawn Cemetery, a National Historic Landmark, and the jewel in the crown of the nineteenth-century garden cemetery movement. Designed as America's Père Lachaise Cemetery, it is the resting place for powerful and prominent Americans in the fields of industry, politics and culture including everyone from J.P. Morgan, Joseph Pulitzer, Ralph Bunche, Fiorello LaGuardia, Elizabeth Cady Stanton, Madame C. J. Walker, to Herman Melville, Duke Ellington, Miles Davis and Celia Cruz. It quickly became the third most visited plot in the cemetery.On November 3, 2002, Cronin unveiled the work on her burial plot in Woodlawn Cemetery in the borough of The Bronx in New York City. She organized the day as a protest, parade, funeral and a party all rolled into one. It began with a historic walking tour followed by a graveside service, a reception at the Woolworth Chapel and then at the end of the day, friends and family gathered at their Tribeca loft. This project was produced in collaboration with Grand Arts and the Deitch Projects gallery in New York City.The work, which is Cronin's first marble sculpture, stayed on the plot from November 3, 2002, until June 7, 2010, when it was removed responding to numerous exhibition requests from museums in the U.S. and Europe. It was immediately replaced with an identical bronze edition of the same size which will remain on the plot through eternity.Memorial to a Marriage has been included in over 45 exhibitions in the U.S. and abroad, including: the Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; American Academy in Rome, Rome, Italy; The Armory Show, New York, New York; Art Omi, Ghent, New York; Brooklyn Museum, Brooklyn, New York; The FLAG Art Foundation, New York, New York; Gallery of Modern Art, Glasgow, Scotland; Leslie-Lohman Museum of Gay and Lesbian Art, New York, New York; National Academy of Design, New York, New York; Neuberger Museum of Art, Purchase, New York; Newcomb Art Museum, New Orleans, Louisiana; Station Museum of Contemporary Art, Houston, Texas; and Tampa Museum of Art, Tampa, Florida, among others.Bronze editions of the statue are in the permanent collections of several museums, including: Smithsonian National Portrait Gallery, Washington, DC; Perez Art Museum Miami, Miami, Florida; and Kelvingrove Art Gallery and Museum, Glasgow, Scotland where it is on permanent view since 2012.Since the installation of Memorial To A Marriage, almost 20 years ago, same sex marriage was legalized in the United States in 2015. However, the monumental landscape has changed little with only a handful of monuments to women and members of the LGBTQ+ community realized and installed nationwide.Cronin first explored lesbian themes of representation in her erotic watercolor series of the 1990s which were shown at numerous group exhibitions nationwide which examine adult sexual intimacy from a unique feminist lesbian perspective. In 1993, Cronin organized a panel discussion, Representing Lesbian Subjectivities at The Drawing Center which was expanded to a special issue of Art Papers which she guest edited.In 2022, Memorial To A Marriage became the centerpiece of the first LGBTQ+ VR Museum headquartered in Bristol, England. It debuted the Tribeca Film Festival and won the New Voices Award in the Immersive Competition.

National Portrait Gallery (United States)

Category:Monuments and memorials in New York City

Category:LGBTQ monuments and memorials in the United States

Category:Monuments and memorials to women


Memorial To A Marriage

Prompt: Explain the abstract of this artwork, Memorial To A Marriage.

Memorial To A Marriage (2002) is the first marriage equality monument worldwide.Created by American artist Patricia Cronin as part of a series of works redressing the absence of female and LGBTQ+ representation in public monuments and the prohibition of same sex marriage in the United States, this three-ton Carrara marble monumental statue is a double full figure portrait of the artist and her then partner (now wife) artist Deborah Kass, recumbent embracing on an inclined mattress, on a shared pillow in marital bliss and eternal rest. As an act of political resistance of being denied representation in public civic space by municipal leadership and denied personal liberty by the federal government, Cronin reinterprets sepulchral sculptural portraiture in the canon of Western art history by modeling and carving their likenesses in the patriotic form of 19th century American neo-classical sculpture to address a local and federal governmental failures.Inspired by a range of art historical references from the Ancient sculpture Sleeping Hermaphrodite to 19th-century French painter, Gustove Courbet's The Sleep (1866) to American sculptor Harriet Hosmer's Beatrice Cenci, to William Henry Reinhart's Sleeping Children. It has also been pointed out that Cronin in titling the work was citing Lincoln Kirstein's book by the same title, Memorial To A Marriage on Augustus Saint-Gaudens' Adams Memorial sculpture.Prior to the Supreme Court's Obergefell v. Hodges decision on June 26, 2015, over turning the Defense of Marriage Act making the United States only the 29th country out of 195 countries worldwide legalizing same sex marriage, the only legal path for same sex couples to attain a few of the 1200 legal protections heterosexual marriage includes was to hire lawyers to draw up wills, health care proxies and powers of attorney documents. The only purpose for these documents is about attending to events at the end of one's life, not celebrating the beginning of a life together.Using the trope of death, all she was legally allowed, Cronin created an equally poetic and political conceptual artistic protest. The art historian Robert Rosenblum described the work as "so imaginative a leap into an artist's personal life and so revolutionary a monument in terms of social history that it demands a full-scale monograph." He named the installation as one of the ten best shows of 2003 in Artforum.She bought their joint burial plot for the installation in at Woodlawn Cemetery, a National Historic Landmark, and the jewel in the crown of the nineteenth-century garden cemetery movement. Designed as America's Père Lachaise Cemetery, it is the resting place for powerful and prominent Americans in the fields of industry, politics and culture including everyone from J.P. Morgan, Joseph Pulitzer, Ralph Bunche, Fiorello LaGuardia, Elizabeth Cady Stanton, Madame C. J. Walker, to Herman Melville, Duke Ellington, Miles Davis and Celia Cruz. It quickly became the third most visited plot in the cemetery.On November 3, 2002, Cronin unveiled the work on her burial plot in Woodlawn Cemetery in the borough of The Bronx in New York City. She organized the day as a protest, parade, funeral and a party all rolled into one. It began with a historic walking tour followed by a graveside service, a reception at the Woolworth Chapel and then at the end of the day, friends and family gathered at their Tribeca loft. This project was produced in collaboration with Grand Arts and the Deitch Projects gallery in New York City.The work, which is Cronin's first marble sculpture, stayed on the plot from November 3, 2002, until June 7, 2010, when it was removed responding to numerous exhibition requests from museums in the U.S. and Europe. It was immediately replaced with an identical bronze edition of the same size which will remain on the plot through eternity.Memorial to a Marriage has been included in over 45 exhibitions in the U.S. and abroad, including: the Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; American Academy in Rome, Rome, Italy; The Armory Show, New York, New York; Art Omi, Ghent, New York; Brooklyn Museum, Brooklyn, New York; The FLAG Art Foundation, New York, New York; Gallery of Modern Art, Glasgow, Scotland; Leslie-Lohman Museum of Gay and Lesbian Art, New York, New York; National Academy of Design, New York, New York; Neuberger Museum of Art, Purchase, New York; Newcomb Art Museum, New Orleans, Louisiana; Station Museum of Contemporary Art, Houston, Texas; and Tampa Museum of Art, Tampa, Florida, among others.Bronze editions of the statue are in the permanent collections of several museums, including: Smithsonian National Portrait Gallery, Washington, DC; Perez Art Museum Miami, Miami, Florida; and Kelvingrove Art Gallery and Museum, Glasgow, Scotland where it is on permanent view since 2012.Since the installation of Memorial To A Marriage, almost 20 years ago, same sex marriage was legalized in the United States in 2015. However, the monumental landscape has changed little with only a handful of monuments to women and members of the LGBTQ+ community realized and installed nationwide.Cronin first explored lesbian themes of representation in her erotic watercolor series of the 1990s which were shown at numerous group exhibitions nationwide which examine adult sexual intimacy from a unique feminist lesbian perspective. In 1993, Cronin organized a panel discussion, Representing Lesbian Subjectivities at The Drawing Center which was expanded to a special issue of Art Papers which she guest edited.In 2022, Memorial To A Marriage became the centerpiece of the first LGBTQ+ VR Museum headquartered in Bristol, England. It debuted the Tribeca Film Festival and won the New Voices Award in the Immersive Competition.

National Portrait Gallery (United States)

Category:Monuments and memorials in New York City

Category:LGBTQ monuments and memorials in the United States

Category:Monuments and memorials to women


Memorial To A Marriage

Prompt: How does Memorial To A Marriage explain its abstract?

Memorial To A Marriage (2002) is the first marriage equality monument worldwide.Created by American artist Patricia Cronin as part of a series of works redressing the absence of female and LGBTQ+ representation in public monuments and the prohibition of same sex marriage in the United States, this three-ton Carrara marble monumental statue is a double full figure portrait of the artist and her then partner (now wife) artist Deborah Kass, recumbent embracing on an inclined mattress, on a shared pillow in marital bliss and eternal rest. As an act of political resistance of being denied representation in public civic space by municipal leadership and denied personal liberty by the federal government, Cronin reinterprets sepulchral sculptural portraiture in the canon of Western art history by modeling and carving their likenesses in the patriotic form of 19th century American neo-classical sculpture to address a local and federal governmental failures.Inspired by a range of art historical references from the Ancient sculpture Sleeping Hermaphrodite to 19th-century French painter, Gustove Courbet's The Sleep (1866) to American sculptor Harriet Hosmer's Beatrice Cenci, to William Henry Reinhart's Sleeping Children. It has also been pointed out that Cronin in titling the work was citing Lincoln Kirstein's book by the same title, Memorial To A Marriage on Augustus Saint-Gaudens' Adams Memorial sculpture.Prior to the Supreme Court's Obergefell v. Hodges decision on June 26, 2015, over turning the Defense of Marriage Act making the United States only the 29th country out of 195 countries worldwide legalizing same sex marriage, the only legal path for same sex couples to attain a few of the 1200 legal protections heterosexual marriage includes was to hire lawyers to draw up wills, health care proxies and powers of attorney documents. The only purpose for these documents is about attending to events at the end of one's life, not celebrating the beginning of a life together.Using the trope of death, all she was legally allowed, Cronin created an equally poetic and political conceptual artistic protest. The art historian Robert Rosenblum described the work as "so imaginative a leap into an artist's personal life and so revolutionary a monument in terms of social history that it demands a full-scale monograph." He named the installation as one of the ten best shows of 2003 in Artforum.She bought their joint burial plot for the installation in at Woodlawn Cemetery, a National Historic Landmark, and the jewel in the crown of the nineteenth-century garden cemetery movement. Designed as America's Père Lachaise Cemetery, it is the resting place for powerful and prominent Americans in the fields of industry, politics and culture including everyone from J.P. Morgan, Joseph Pulitzer, Ralph Bunche, Fiorello LaGuardia, Elizabeth Cady Stanton, Madame C. J. Walker, to Herman Melville, Duke Ellington, Miles Davis and Celia Cruz. It quickly became the third most visited plot in the cemetery.On November 3, 2002, Cronin unveiled the work on her burial plot in Woodlawn Cemetery in the borough of The Bronx in New York City. She organized the day as a protest, parade, funeral and a party all rolled into one. It began with a historic walking tour followed by a graveside service, a reception at the Woolworth Chapel and then at the end of the day, friends and family gathered at their Tribeca loft. This project was produced in collaboration with Grand Arts and the Deitch Projects gallery in New York City.The work, which is Cronin's first marble sculpture, stayed on the plot from November 3, 2002, until June 7, 2010, when it was removed responding to numerous exhibition requests from museums in the U.S. and Europe. It was immediately replaced with an identical bronze edition of the same size which will remain on the plot through eternity.Memorial to a Marriage has been included in over 45 exhibitions in the U.S. and abroad, including: the Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; American Academy in Rome, Rome, Italy; The Armory Show, New York, New York; Art Omi, Ghent, New York; Brooklyn Museum, Brooklyn, New York; The FLAG Art Foundation, New York, New York; Gallery of Modern Art, Glasgow, Scotland; Leslie-Lohman Museum of Gay and Lesbian Art, New York, New York; National Academy of Design, New York, New York; Neuberger Museum of Art, Purchase, New York; Newcomb Art Museum, New Orleans, Louisiana; Station Museum of Contemporary Art, Houston, Texas; and Tampa Museum of Art, Tampa, Florida, among others.Bronze editions of the statue are in the permanent collections of several museums, including: Smithsonian National Portrait Gallery, Washington, DC; Perez Art Museum Miami, Miami, Florida; and Kelvingrove Art Gallery and Museum, Glasgow, Scotland where it is on permanent view since 2012.Since the installation of Memorial To A Marriage, almost 20 years ago, same sex marriage was legalized in the United States in 2015. However, the monumental landscape has changed little with only a handful of monuments to women and members of the LGBTQ+ community realized and installed nationwide.Cronin first explored lesbian themes of representation in her erotic watercolor series of the 1990s which were shown at numerous group exhibitions nationwide which examine adult sexual intimacy from a unique feminist lesbian perspective. In 1993, Cronin organized a panel discussion, Representing Lesbian Subjectivities at The Drawing Center which was expanded to a special issue of Art Papers which she guest edited.In 2022, Memorial To A Marriage became the centerpiece of the first LGBTQ+ VR Museum headquartered in Bristol, England. It debuted the Tribeca Film Festival and won the New Voices Award in the Immersive Competition.

National Portrait Gallery (United States)

Category:Monuments and memorials in New York City

Category:LGBTQ monuments and memorials in the United States

Category:Monuments and memorials to women


Memorial To A Marriage

Prompt: In Memorial To A Marriage, how is the abstract discussed?

Memorial To A Marriage (2002) is the first marriage equality monument worldwide.Created by American artist Patricia Cronin as part of a series of works redressing the absence of female and LGBTQ+ representation in public monuments and the prohibition of same sex marriage in the United States, this three-ton Carrara marble monumental statue is a double full figure portrait of the artist and her then partner (now wife) artist Deborah Kass, recumbent embracing on an inclined mattress, on a shared pillow in marital bliss and eternal rest. As an act of political resistance of being denied representation in public civic space by municipal leadership and denied personal liberty by the federal government, Cronin reinterprets sepulchral sculptural portraiture in the canon of Western art history by modeling and carving their likenesses in the patriotic form of 19th century American neo-classical sculpture to address a local and federal governmental failures.Inspired by a range of art historical references from the Ancient sculpture Sleeping Hermaphrodite to 19th-century French painter, Gustove Courbet's The Sleep (1866) to American sculptor Harriet Hosmer's Beatrice Cenci, to William Henry Reinhart's Sleeping Children. It has also been pointed out that Cronin in titling the work was citing Lincoln Kirstein's book by the same title, Memorial To A Marriage on Augustus Saint-Gaudens' Adams Memorial sculpture.Prior to the Supreme Court's Obergefell v. Hodges decision on June 26, 2015, over turning the Defense of Marriage Act making the United States only the 29th country out of 195 countries worldwide legalizing same sex marriage, the only legal path for same sex couples to attain a few of the 1200 legal protections heterosexual marriage includes was to hire lawyers to draw up wills, health care proxies and powers of attorney documents. The only purpose for these documents is about attending to events at the end of one's life, not celebrating the beginning of a life together.Using the trope of death, all she was legally allowed, Cronin created an equally poetic and political conceptual artistic protest. The art historian Robert Rosenblum described the work as "so imaginative a leap into an artist's personal life and so revolutionary a monument in terms of social history that it demands a full-scale monograph." He named the installation as one of the ten best shows of 2003 in Artforum.She bought their joint burial plot for the installation in at Woodlawn Cemetery, a National Historic Landmark, and the jewel in the crown of the nineteenth-century garden cemetery movement. Designed as America's Père Lachaise Cemetery, it is the resting place for powerful and prominent Americans in the fields of industry, politics and culture including everyone from J.P. Morgan, Joseph Pulitzer, Ralph Bunche, Fiorello LaGuardia, Elizabeth Cady Stanton, Madame C. J. Walker, to Herman Melville, Duke Ellington, Miles Davis and Celia Cruz. It quickly became the third most visited plot in the cemetery.On November 3, 2002, Cronin unveiled the work on her burial plot in Woodlawn Cemetery in the borough of The Bronx in New York City. She organized the day as a protest, parade, funeral and a party all rolled into one. It began with a historic walking tour followed by a graveside service, a reception at the Woolworth Chapel and then at the end of the day, friends and family gathered at their Tribeca loft. This project was produced in collaboration with Grand Arts and the Deitch Projects gallery in New York City.The work, which is Cronin's first marble sculpture, stayed on the plot from November 3, 2002, until June 7, 2010, when it was removed responding to numerous exhibition requests from museums in the U.S. and Europe. It was immediately replaced with an identical bronze edition of the same size which will remain on the plot through eternity.Memorial to a Marriage has been included in over 45 exhibitions in the U.S. and abroad, including: the Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; American Academy in Rome, Rome, Italy; The Armory Show, New York, New York; Art Omi, Ghent, New York; Brooklyn Museum, Brooklyn, New York; The FLAG Art Foundation, New York, New York; Gallery of Modern Art, Glasgow, Scotland; Leslie-Lohman Museum of Gay and Lesbian Art, New York, New York; National Academy of Design, New York, New York; Neuberger Museum of Art, Purchase, New York; Newcomb Art Museum, New Orleans, Louisiana; Station Museum of Contemporary Art, Houston, Texas; and Tampa Museum of Art, Tampa, Florida, among others.Bronze editions of the statue are in the permanent collections of several museums, including: Smithsonian National Portrait Gallery, Washington, DC; Perez Art Museum Miami, Miami, Florida; and Kelvingrove Art Gallery and Museum, Glasgow, Scotland where it is on permanent view since 2012.Since the installation of Memorial To A Marriage, almost 20 years ago, same sex marriage was legalized in the United States in 2015. However, the monumental landscape has changed little with only a handful of monuments to women and members of the LGBTQ+ community realized and installed nationwide.Cronin first explored lesbian themes of representation in her erotic watercolor series of the 1990s which were shown at numerous group exhibitions nationwide which examine adult sexual intimacy from a unique feminist lesbian perspective. In 1993, Cronin organized a panel discussion, Representing Lesbian Subjectivities at The Drawing Center which was expanded to a special issue of Art Papers which she guest edited.In 2022, Memorial To A Marriage became the centerpiece of the first LGBTQ+ VR Museum headquartered in Bristol, England. It debuted the Tribeca Film Festival and won the New Voices Award in the Immersive Competition.

National Portrait Gallery (United States)

Category:Monuments and memorials in New York City

Category:LGBTQ monuments and memorials in the United States

Category:Monuments and memorials to women


Mother and Children

Prompt: Focus on Mother and Children and explain the abstract.

Mother and Children (also known as La Promenade) is an Impressionist painting by Pierre-Auguste Renoir that is housed in the Frick Collection. Although the painting is most commonly known as Mother and Children, Renoir presented it with the title La Promenade in 1876. The painting is displayed in an alcove under a set of stairs at the Frick.

List of paintings by Pierre-Auguste Renoir

Category:Paintings in the Frick Collection

Category:Paintings by Pierre-Auguste Renoir


Mother and Children

Prompt: Explain the abstract of this artwork, Mother and Children.

Mother and Children (also known as La Promenade) is an Impressionist painting by Pierre-Auguste Renoir that is housed in the Frick Collection. Although the painting is most commonly known as Mother and Children, Renoir presented it with the title La Promenade in 1876. The painting is displayed in an alcove under a set of stairs at the Frick.

List of paintings by Pierre-Auguste Renoir

Category:Paintings in the Frick Collection

Category:Paintings by Pierre-Auguste Renoir


Mother and Children

Prompt: How does Mother and Children explain its abstract?

Mother and Children (also known as La Promenade) is an Impressionist painting by Pierre-Auguste Renoir that is housed in the Frick Collection. Although the painting is most commonly known as Mother and Children, Renoir presented it with the title La Promenade in 1876. The painting is displayed in an alcove under a set of stairs at the Frick.

List of paintings by Pierre-Auguste Renoir

Category:Paintings in the Frick Collection

Category:Paintings by Pierre-Auguste Renoir


Mother and Children

Prompt: In Mother and Children, how is the abstract discussed?

Mother and Children (also known as La Promenade) is an Impressionist painting by Pierre-Auguste Renoir that is housed in the Frick Collection. Although the painting is most commonly known as Mother and Children, Renoir presented it with the title La Promenade in 1876. The painting is displayed in an alcove under a set of stairs at the Frick.

List of paintings by Pierre-Auguste Renoir

Category:Paintings in the Frick Collection

Category:Paintings by Pierre-Auguste Renoir


Seven Saints (Filippo Lippi)

Prompt: Focus on Seven Saints (Filippo Lippi) and explain the abstract.

Seven Saints  is a tempera on panel painting by the Italian Renaissance master Filippo Lippi, dating to c. 1449–1459, in the collection of the National Gallery, London. It is a pendant to Lippi's Annunciation, also in the National Gallery. The lunettes were commissioned as part of the decoration of the Palazzo Medici in Florence, where they were likely placed above a door or a bed.There is general agreement on Lippi's authorship of the panels, but their dating is less certain; they were produced some time between Lorenzo the Magnificent's birth in 1449 and the completion of the palace's furnishing in 1459. That their patron belonged to the Medici family is testified by the presence of Piero di Cosimo de' Medici's coat of arms in the other lunette, and by the link between the saints depicted in this panel and the male members of the family. Piero di Cosimo lived in Palazzo Medici from 1456.In the center is Saint John the Baptist, patron saint of Florence, flanked by the Saints Cosmas and Damian (protectors of the Medici, and in particular of Cosimo de' Medici, Piero's father). On the right, in the foreground, is Saint Peter of Verona, protector of Piero di Cosimo de' Medici, and next to him is Saint John the Evangelist, protector of his brother Giovanni. On the left, in the foreground, are Saint Francis of Assisi, the patron of Pierfrancesco the Elder (Piero's cousin), and Saint Lawrence, patron of his uncle, Lorenzo the Elder.Both lunettes were acquired in 1855 from the Metzger brothers by Sir Charles Eastlake and donated to the National Gallery in 1861.

Category:Paintings in the National Gallery, London


Seven Saints (Filippo Lippi)

Prompt: Explain the abstract of this artwork, Seven Saints (Filippo Lippi).

Seven Saints  is a tempera on panel painting by the Italian Renaissance master Filippo Lippi, dating to c. 1449–1459, in the collection of the National Gallery, London. It is a pendant to Lippi's Annunciation, also in the National Gallery. The lunettes were commissioned as part of the decoration of the Palazzo Medici in Florence, where they were likely placed above a door or a bed.There is general agreement on Lippi's authorship of the panels, but their dating is less certain; they were produced some time between Lorenzo the Magnificent's birth in 1449 and the completion of the palace's furnishing in 1459. That their patron belonged to the Medici family is testified by the presence of Piero di Cosimo de' Medici's coat of arms in the other lunette, and by the link between the saints depicted in this panel and the male members of the family. Piero di Cosimo lived in Palazzo Medici from 1456.In the center is Saint John the Baptist, patron saint of Florence, flanked by the Saints Cosmas and Damian (protectors of the Medici, and in particular of Cosimo de' Medici, Piero's father). On the right, in the foreground, is Saint Peter of Verona, protector of Piero di Cosimo de' Medici, and next to him is Saint John the Evangelist, protector of his brother Giovanni. On the left, in the foreground, are Saint Francis of Assisi, the patron of Pierfrancesco the Elder (Piero's cousin), and Saint Lawrence, patron of his uncle, Lorenzo the Elder.Both lunettes were acquired in 1855 from the Metzger brothers by Sir Charles Eastlake and donated to the National Gallery in 1861.

Category:Paintings in the National Gallery, London


Seven Saints (Filippo Lippi)

Prompt: How does Seven Saints (Filippo Lippi) explain its abstract?

Seven Saints  is a tempera on panel painting by the Italian Renaissance master Filippo Lippi, dating to c. 1449–1459, in the collection of the National Gallery, London. It is a pendant to Lippi's Annunciation, also in the National Gallery. The lunettes were commissioned as part of the decoration of the Palazzo Medici in Florence, where they were likely placed above a door or a bed.There is general agreement on Lippi's authorship of the panels, but their dating is less certain; they were produced some time between Lorenzo the Magnificent's birth in 1449 and the completion of the palace's furnishing in 1459. That their patron belonged to the Medici family is testified by the presence of Piero di Cosimo de' Medici's coat of arms in the other lunette, and by the link between the saints depicted in this panel and the male members of the family. Piero di Cosimo lived in Palazzo Medici from 1456.In the center is Saint John the Baptist, patron saint of Florence, flanked by the Saints Cosmas and Damian (protectors of the Medici, and in particular of Cosimo de' Medici, Piero's father). On the right, in the foreground, is Saint Peter of Verona, protector of Piero di Cosimo de' Medici, and next to him is Saint John the Evangelist, protector of his brother Giovanni. On the left, in the foreground, are Saint Francis of Assisi, the patron of Pierfrancesco the Elder (Piero's cousin), and Saint Lawrence, patron of his uncle, Lorenzo the Elder.Both lunettes were acquired in 1855 from the Metzger brothers by Sir Charles Eastlake and donated to the National Gallery in 1861.

Category:Paintings in the National Gallery, London


Seven Saints (Filippo Lippi)

Prompt: In Seven Saints (Filippo Lippi), how is the abstract discussed?

Seven Saints  is a tempera on panel painting by the Italian Renaissance master Filippo Lippi, dating to c. 1449–1459, in the collection of the National Gallery, London. It is a pendant to Lippi's Annunciation, also in the National Gallery. The lunettes were commissioned as part of the decoration of the Palazzo Medici in Florence, where they were likely placed above a door or a bed.There is general agreement on Lippi's authorship of the panels, but their dating is less certain; they were produced some time between Lorenzo the Magnificent's birth in 1449 and the completion of the palace's furnishing in 1459. That their patron belonged to the Medici family is testified by the presence of Piero di Cosimo de' Medici's coat of arms in the other lunette, and by the link between the saints depicted in this panel and the male members of the family. Piero di Cosimo lived in Palazzo Medici from 1456.In the center is Saint John the Baptist, patron saint of Florence, flanked by the Saints Cosmas and Damian (protectors of the Medici, and in particular of Cosimo de' Medici, Piero's father). On the right, in the foreground, is Saint Peter of Verona, protector of Piero di Cosimo de' Medici, and next to him is Saint John the Evangelist, protector of his brother Giovanni. On the left, in the foreground, are Saint Francis of Assisi, the patron of Pierfrancesco the Elder (Piero's cousin), and Saint Lawrence, patron of his uncle, Lorenzo the Elder.Both lunettes were acquired in 1855 from the Metzger brothers by Sir Charles Eastlake and donated to the National Gallery in 1861.

Category:Paintings in the National Gallery, London


Einstein Gargoyle

Prompt: Focus on Einstein Gargoyle and explain the abstract.

Einstein Gargoyle, also referred to as Albert Einstein, Einstein, and Einstein Gargoyles, is an outdoor 1986 sculpture by Wayne Chabre, installed on the exterior of Willamette Hall on the University of Oregon campus in Eugene, Oregon, United States. The portrait bust depicts Albert Einstein in high relief with a fluttering necktie, and was inspired by a photograph of the scientist on his birthday. It is made of hammered copper sheet and measures approximately 2.5 feet (0.76 m) x 1.5 feet (0.46 m) x 1.5 feet (0.46 m). The sculpture's condition was undetermined when it was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in March 1993. The sculpture is administered by the University of Oregon.

Category:Monuments and memorials in Eugene, Oregon

Category:Cultural depictions of Albert Einstein

Category:Outdoor sculptures in Eugene, Oregon


Einstein Gargoyle

Prompt: Explain the abstract of this artwork, Einstein Gargoyle.

Einstein Gargoyle, also referred to as Albert Einstein, Einstein, and Einstein Gargoyles, is an outdoor 1986 sculpture by Wayne Chabre, installed on the exterior of Willamette Hall on the University of Oregon campus in Eugene, Oregon, United States. The portrait bust depicts Albert Einstein in high relief with a fluttering necktie, and was inspired by a photograph of the scientist on his birthday. It is made of hammered copper sheet and measures approximately 2.5 feet (0.76 m) x 1.5 feet (0.46 m) x 1.5 feet (0.46 m). The sculpture's condition was undetermined when it was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in March 1993. The sculpture is administered by the University of Oregon.

Category:Monuments and memorials in Eugene, Oregon

Category:Cultural depictions of Albert Einstein

Category:Outdoor sculptures in Eugene, Oregon


Einstein Gargoyle

Prompt: How does Einstein Gargoyle explain its abstract?

Einstein Gargoyle, also referred to as Albert Einstein, Einstein, and Einstein Gargoyles, is an outdoor 1986 sculpture by Wayne Chabre, installed on the exterior of Willamette Hall on the University of Oregon campus in Eugene, Oregon, United States. The portrait bust depicts Albert Einstein in high relief with a fluttering necktie, and was inspired by a photograph of the scientist on his birthday. It is made of hammered copper sheet and measures approximately 2.5 feet (0.76 m) x 1.5 feet (0.46 m) x 1.5 feet (0.46 m). The sculpture's condition was undetermined when it was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in March 1993. The sculpture is administered by the University of Oregon.

Category:Monuments and memorials in Eugene, Oregon

Category:Cultural depictions of Albert Einstein

Category:Outdoor sculptures in Eugene, Oregon


Einstein Gargoyle

Prompt: In Einstein Gargoyle, how is the abstract discussed?

Einstein Gargoyle, also referred to as Albert Einstein, Einstein, and Einstein Gargoyles, is an outdoor 1986 sculpture by Wayne Chabre, installed on the exterior of Willamette Hall on the University of Oregon campus in Eugene, Oregon, United States. The portrait bust depicts Albert Einstein in high relief with a fluttering necktie, and was inspired by a photograph of the scientist on his birthday. It is made of hammered copper sheet and measures approximately 2.5 feet (0.76 m) x 1.5 feet (0.46 m) x 1.5 feet (0.46 m). The sculpture's condition was undetermined when it was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in March 1993. The sculpture is administered by the University of Oregon.

Category:Monuments and memorials in Eugene, Oregon

Category:Cultural depictions of Albert Einstein

Category:Outdoor sculptures in Eugene, Oregon


Vive L'Empereur (painting)

Prompt: Focus on Vive L'Empereur (painting) and explain the abstract.

Vive L'Empereur! is a history painting made retrospectively by French artist Édouard Detaille in 1891, based upon the cavalry charge of the French 4th Hussars during the Battle of Friedland. The actual battle had taken place on 14 June 1807, some 41 years before the artist's birth.

Category:Collection of the Art Gallery of New South Wales


Vive L'Empereur (painting)

Prompt: Explain the abstract of this artwork, Vive L'Empereur (painting).

Vive L'Empereur! is a history painting made retrospectively by French artist Édouard Detaille in 1891, based upon the cavalry charge of the French 4th Hussars during the Battle of Friedland. The actual battle had taken place on 14 June 1807, some 41 years before the artist's birth.

Category:Collection of the Art Gallery of New South Wales


Vive L'Empereur (painting)

Prompt: How does Vive L'Empereur (painting) explain its abstract?

Vive L'Empereur! is a history painting made retrospectively by French artist Édouard Detaille in 1891, based upon the cavalry charge of the French 4th Hussars during the Battle of Friedland. The actual battle had taken place on 14 June 1807, some 41 years before the artist's birth.

Category:Collection of the Art Gallery of New South Wales


Vive L'Empereur (painting)

Prompt: In Vive L'Empereur (painting), how is the abstract discussed?

Vive L'Empereur! is a history painting made retrospectively by French artist Édouard Detaille in 1891, based upon the cavalry charge of the French 4th Hussars during the Battle of Friedland. The actual battle had taken place on 14 June 1807, some 41 years before the artist's birth.

Category:Collection of the Art Gallery of New South Wales


Vive L'Empereur (painting)

Prompt: Focus on Vive L'Empereur (painting) and explain the History.

The painting was purchased by the Art Gallery of New South Wales in 1893, where it remains. In 1959, the painting was damaged severely by water, but it was restored during the 2000s.

Category:Collection of the Art Gallery of New South Wales


Vive L'Empereur (painting)

Prompt: Explain the History of this artwork, Vive L'Empereur (painting).

The painting was purchased by the Art Gallery of New South Wales in 1893, where it remains. In 1959, the painting was damaged severely by water, but it was restored during the 2000s.

Category:Collection of the Art Gallery of New South Wales


Vive L'Empereur (painting)

Prompt: How does Vive L'Empereur (painting) explain its History?

The painting was purchased by the Art Gallery of New South Wales in 1893, where it remains. In 1959, the painting was damaged severely by water, but it was restored during the 2000s.

Category:Collection of the Art Gallery of New South Wales


Vive L'Empereur (painting)

Prompt: In Vive L'Empereur (painting), how is the History discussed?

The painting was purchased by the Art Gallery of New South Wales in 1893, where it remains. In 1959, the painting was damaged severely by water, but it was restored during the 2000s.

Category:Collection of the Art Gallery of New South Wales


Vive L'Empereur (painting)

Prompt: Focus on Vive L'Empereur (painting) and explain the Museum.

In June 2014, the Art Gallery of New South Wales purchased Portrait of Édouard Detaille  by Basile Lemeunier (1852–1922), which shows Detaille at work in his studio – painting Vive L'Empereur! – atop a wooden ladder with a lit cigarette in his mouth. The portrait was exhibited at the Paris Salon in 1891.

Category:Collection of the Art Gallery of New South Wales


Vive L'Empereur (painting)

Prompt: Explain the Museum of this artwork, Vive L'Empereur (painting).

In June 2014, the Art Gallery of New South Wales purchased Portrait of Édouard Detaille  by Basile Lemeunier (1852–1922), which shows Detaille at work in his studio – painting Vive L'Empereur! – atop a wooden ladder with a lit cigarette in his mouth. The portrait was exhibited at the Paris Salon in 1891.

Category:Collection of the Art Gallery of New South Wales


Vive L'Empereur (painting)

Prompt: How does Vive L'Empereur (painting) explain its Museum?

In June 2014, the Art Gallery of New South Wales purchased Portrait of Édouard Detaille  by Basile Lemeunier (1852–1922), which shows Detaille at work in his studio – painting Vive L'Empereur! – atop a wooden ladder with a lit cigarette in his mouth. The portrait was exhibited at the Paris Salon in 1891.

Category:Collection of the Art Gallery of New South Wales


Vive L'Empereur (painting)

Prompt: In Vive L'Empereur (painting), how is the Museum discussed?

In June 2014, the Art Gallery of New South Wales purchased Portrait of Édouard Detaille  by Basile Lemeunier (1852–1922), which shows Detaille at work in his studio – painting Vive L'Empereur! – atop a wooden ladder with a lit cigarette in his mouth. The portrait was exhibited at the Paris Salon in 1891.

Category:Collection of the Art Gallery of New South Wales


The Battle of the Boyne (painting)

Prompt: Focus on The Battle of the Boyne (painting) and explain the abstract.

The Battle of the Boyne is a 1778 historical painting by the Anglo-American artist Benjamin West.  It portrays the Battle of the Boyne which took place in Ireland in 1690. West's depiction of William of Orange on his white horse became the iconic image of liberation from Catholic Ireland; the painting was widely copied and distributed throughout the nineteenth century. The painting itself is at Mount Stewart, Newtownards, Northern Ireland, and is the property of the National Trust.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: Explain the abstract of this artwork, The Battle of the Boyne (painting).

The Battle of the Boyne is a 1778 historical painting by the Anglo-American artist Benjamin West.  It portrays the Battle of the Boyne which took place in Ireland in 1690. West's depiction of William of Orange on his white horse became the iconic image of liberation from Catholic Ireland; the painting was widely copied and distributed throughout the nineteenth century. The painting itself is at Mount Stewart, Newtownards, Northern Ireland, and is the property of the National Trust.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: How does The Battle of the Boyne (painting) explain its abstract?

The Battle of the Boyne is a 1778 historical painting by the Anglo-American artist Benjamin West.  It portrays the Battle of the Boyne which took place in Ireland in 1690. West's depiction of William of Orange on his white horse became the iconic image of liberation from Catholic Ireland; the painting was widely copied and distributed throughout the nineteenth century. The painting itself is at Mount Stewart, Newtownards, Northern Ireland, and is the property of the National Trust.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: In The Battle of the Boyne (painting), how is the abstract discussed?

The Battle of the Boyne is a 1778 historical painting by the Anglo-American artist Benjamin West.  It portrays the Battle of the Boyne which took place in Ireland in 1690. West's depiction of William of Orange on his white horse became the iconic image of liberation from Catholic Ireland; the painting was widely copied and distributed throughout the nineteenth century. The painting itself is at Mount Stewart, Newtownards, Northern Ireland, and is the property of the National Trust.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: Focus on The Battle of the Boyne (painting) and explain the West and Historicism.

West became a celebrated figure for his 1770 work The Death of General Wolfe, which portrayed James Wolfe's death during the fight for Quebec in 1759. His historical paintings brought him to national attention and he became a leading member of the Royal Academy. West was influenced by neoclassicism and attempted to portray scenes that drew an emotional response, rather than being historically accurate.  As a "history painter," he was more concerned with the epic rendition of the narrative rather than with its possible accuracy.   West's 1778 work portrays the fighting at the Boyne, part of the Williamite War in Ireland (1689–91). The battle was a decisive victory for the Williamites over James II's Jacobite Irish Army, leading to the capture of the Irish capital city Dublin. By the time West made the painting, the Boyne had come to occupy an important position in Irish Protestant culture. The dominant image of the painting is William of Orange crossing the River Boyne. West's portrayal of the King became influential on subsequent images of William, particularly his use of a white horse.In the bottom right corner, he portrays the death of Marshal Schomberg, the second-in-command of William's army. Schomberg had crossed the Boyne earlier than William and had been killed by Jacobite cavalry in the melee around Oldbridge ford. West transformed Schomberg's chaotic death into a tableau, one that has strong similarities to other heroic death scenes in West's paintings, such as General Wolfe or Horatio Nelson in The Death of Nelson (1806).

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: Explain the West and Historicism of this artwork, The Battle of the Boyne (painting).

West became a celebrated figure for his 1770 work The Death of General Wolfe, which portrayed James Wolfe's death during the fight for Quebec in 1759. His historical paintings brought him to national attention and he became a leading member of the Royal Academy. West was influenced by neoclassicism and attempted to portray scenes that drew an emotional response, rather than being historically accurate.  As a "history painter," he was more concerned with the epic rendition of the narrative rather than with its possible accuracy.   West's 1778 work portrays the fighting at the Boyne, part of the Williamite War in Ireland (1689–91). The battle was a decisive victory for the Williamites over James II's Jacobite Irish Army, leading to the capture of the Irish capital city Dublin. By the time West made the painting, the Boyne had come to occupy an important position in Irish Protestant culture. The dominant image of the painting is William of Orange crossing the River Boyne. West's portrayal of the King became influential on subsequent images of William, particularly his use of a white horse.In the bottom right corner, he portrays the death of Marshal Schomberg, the second-in-command of William's army. Schomberg had crossed the Boyne earlier than William and had been killed by Jacobite cavalry in the melee around Oldbridge ford. West transformed Schomberg's chaotic death into a tableau, one that has strong similarities to other heroic death scenes in West's paintings, such as General Wolfe or Horatio Nelson in The Death of Nelson (1806).

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: How does The Battle of the Boyne (painting) explain its West and Historicism?

West became a celebrated figure for his 1770 work The Death of General Wolfe, which portrayed James Wolfe's death during the fight for Quebec in 1759. His historical paintings brought him to national attention and he became a leading member of the Royal Academy. West was influenced by neoclassicism and attempted to portray scenes that drew an emotional response, rather than being historically accurate.  As a "history painter," he was more concerned with the epic rendition of the narrative rather than with its possible accuracy.   West's 1778 work portrays the fighting at the Boyne, part of the Williamite War in Ireland (1689–91). The battle was a decisive victory for the Williamites over James II's Jacobite Irish Army, leading to the capture of the Irish capital city Dublin. By the time West made the painting, the Boyne had come to occupy an important position in Irish Protestant culture. The dominant image of the painting is William of Orange crossing the River Boyne. West's portrayal of the King became influential on subsequent images of William, particularly his use of a white horse.In the bottom right corner, he portrays the death of Marshal Schomberg, the second-in-command of William's army. Schomberg had crossed the Boyne earlier than William and had been killed by Jacobite cavalry in the melee around Oldbridge ford. West transformed Schomberg's chaotic death into a tableau, one that has strong similarities to other heroic death scenes in West's paintings, such as General Wolfe or Horatio Nelson in The Death of Nelson (1806).

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: In The Battle of the Boyne (painting), how is the West and Historicism discussed?

West became a celebrated figure for his 1770 work The Death of General Wolfe, which portrayed James Wolfe's death during the fight for Quebec in 1759. His historical paintings brought him to national attention and he became a leading member of the Royal Academy. West was influenced by neoclassicism and attempted to portray scenes that drew an emotional response, rather than being historically accurate.  As a "history painter," he was more concerned with the epic rendition of the narrative rather than with its possible accuracy.   West's 1778 work portrays the fighting at the Boyne, part of the Williamite War in Ireland (1689–91). The battle was a decisive victory for the Williamites over James II's Jacobite Irish Army, leading to the capture of the Irish capital city Dublin. By the time West made the painting, the Boyne had come to occupy an important position in Irish Protestant culture. The dominant image of the painting is William of Orange crossing the River Boyne. West's portrayal of the King became influential on subsequent images of William, particularly his use of a white horse.In the bottom right corner, he portrays the death of Marshal Schomberg, the second-in-command of William's army. Schomberg had crossed the Boyne earlier than William and had been killed by Jacobite cavalry in the melee around Oldbridge ford. West transformed Schomberg's chaotic death into a tableau, one that has strong similarities to other heroic death scenes in West's paintings, such as General Wolfe or Horatio Nelson in The Death of Nelson (1806).

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: Focus on The Battle of the Boyne (painting) and explain the Adoption by the Orange Order.

Since the 1690s, commemorations—state-sponsored and those held by the lower classes—had been held throughout Ireland celebrating key dates in the Williamite War such as the Battle of the Boyne, Siege of Derry and the Siege of Cork. These followed a tradition started in Elizabethan England of celebrating key events in the Protestant calendar. By the 1740s such organizations as the Boyne Club and the Protestant Society, both seen as forerunners to the Orange Order, held parades in Dublin.  As a "history painting, then, West's Battle of the Boyne represented an important moment in time, making it a crucial depiction of an event that was at least anecdotally important, monoscenic depictions of crucial moments in an implied narrative in the ongoing Orangist narrative.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: Explain the Adoption by the Orange Order of this artwork, The Battle of the Boyne (painting).

Since the 1690s, commemorations—state-sponsored and those held by the lower classes—had been held throughout Ireland celebrating key dates in the Williamite War such as the Battle of the Boyne, Siege of Derry and the Siege of Cork. These followed a tradition started in Elizabethan England of celebrating key events in the Protestant calendar. By the 1740s such organizations as the Boyne Club and the Protestant Society, both seen as forerunners to the Orange Order, held parades in Dublin.  As a "history painting, then, West's Battle of the Boyne represented an important moment in time, making it a crucial depiction of an event that was at least anecdotally important, monoscenic depictions of crucial moments in an implied narrative in the ongoing Orangist narrative.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: How does The Battle of the Boyne (painting) explain its Adoption by the Orange Order?

Since the 1690s, commemorations—state-sponsored and those held by the lower classes—had been held throughout Ireland celebrating key dates in the Williamite War such as the Battle of the Boyne, Siege of Derry and the Siege of Cork. These followed a tradition started in Elizabethan England of celebrating key events in the Protestant calendar. By the 1740s such organizations as the Boyne Club and the Protestant Society, both seen as forerunners to the Orange Order, held parades in Dublin.  As a "history painting, then, West's Battle of the Boyne represented an important moment in time, making it a crucial depiction of an event that was at least anecdotally important, monoscenic depictions of crucial moments in an implied narrative in the ongoing Orangist narrative.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: In The Battle of the Boyne (painting), how is the Adoption by the Orange Order discussed?

Since the 1690s, commemorations—state-sponsored and those held by the lower classes—had been held throughout Ireland celebrating key dates in the Williamite War such as the Battle of the Boyne, Siege of Derry and the Siege of Cork. These followed a tradition started in Elizabethan England of celebrating key events in the Protestant calendar. By the 1740s such organizations as the Boyne Club and the Protestant Society, both seen as forerunners to the Orange Order, held parades in Dublin.  As a "history painting, then, West's Battle of the Boyne represented an important moment in time, making it a crucial depiction of an event that was at least anecdotally important, monoscenic depictions of crucial moments in an implied narrative in the ongoing Orangist narrative.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: Focus on The Battle of the Boyne (painting) and explain the Origin of the painting.

In 2011, another original painting of the battle was discovered in a basement of Brownlow House, Lurgan, and testing indicated the painting dates from about the same time as West's 1778 work. Experts conducting the testing and restoration believe the painting was made by a Dutch artist who did not sign his or her work and the piece contains more details than the West painting, suggesting it may even be an earlier production.  The painting was damaged by bullet holes and knife slashes, and approximately 45 percent of the painting had been destroyed.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: Explain the Origin of the painting of this artwork, The Battle of the Boyne (painting).

In 2011, another original painting of the battle was discovered in a basement of Brownlow House, Lurgan, and testing indicated the painting dates from about the same time as West's 1778 work. Experts conducting the testing and restoration believe the painting was made by a Dutch artist who did not sign his or her work and the piece contains more details than the West painting, suggesting it may even be an earlier production.  The painting was damaged by bullet holes and knife slashes, and approximately 45 percent of the painting had been destroyed.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: How does The Battle of the Boyne (painting) explain its Origin of the painting?

In 2011, another original painting of the battle was discovered in a basement of Brownlow House, Lurgan, and testing indicated the painting dates from about the same time as West's 1778 work. Experts conducting the testing and restoration believe the painting was made by a Dutch artist who did not sign his or her work and the piece contains more details than the West painting, suggesting it may even be an earlier production.  The painting was damaged by bullet holes and knife slashes, and approximately 45 percent of the painting had been destroyed.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: In The Battle of the Boyne (painting), how is the Origin of the painting discussed?

In 2011, another original painting of the battle was discovered in a basement of Brownlow House, Lurgan, and testing indicated the painting dates from about the same time as West's 1778 work. Experts conducting the testing and restoration believe the painting was made by a Dutch artist who did not sign his or her work and the piece contains more details than the West painting, suggesting it may even be an earlier production.  The painting was damaged by bullet holes and knife slashes, and approximately 45 percent of the painting had been destroyed.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: Focus on The Battle of the Boyne (painting) and explain the Reproductions.

Since West's painting, several reproductions have been made, mostly line etchings and engravings; these are widely exhibited.  The most prominent of these was made in 1781 by John Hall (Wivenhoe 1739 – London 1797), which can be found at the Wordsworth House, Cumbria.  Versions of West's painting were often reproduced on walls throughout Belfast, although these reproductions are becoming increasingly rare as the walls give way to urban development.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: Explain the Reproductions of this artwork, The Battle of the Boyne (painting).

Since West's painting, several reproductions have been made, mostly line etchings and engravings; these are widely exhibited.  The most prominent of these was made in 1781 by John Hall (Wivenhoe 1739 – London 1797), which can be found at the Wordsworth House, Cumbria.  Versions of West's painting were often reproduced on walls throughout Belfast, although these reproductions are becoming increasingly rare as the walls give way to urban development.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: How does The Battle of the Boyne (painting) explain its Reproductions?

Since West's painting, several reproductions have been made, mostly line etchings and engravings; these are widely exhibited.  The most prominent of these was made in 1781 by John Hall (Wivenhoe 1739 – London 1797), which can be found at the Wordsworth House, Cumbria.  Versions of West's painting were often reproduced on walls throughout Belfast, although these reproductions are becoming increasingly rare as the walls give way to urban development.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Battle of the Boyne (painting)

Prompt: In The Battle of the Boyne (painting), how is the Reproductions discussed?

Since West's painting, several reproductions have been made, mostly line etchings and engravings; these are widely exhibited.  The most prominent of these was made in 1781 by John Hall (Wivenhoe 1739 – London 1797), which can be found at the Wordsworth House, Cumbria.  Versions of West's painting were often reproduced on walls throughout Belfast, although these reproductions are becoming increasingly rare as the walls give way to urban development.

Frederick Schomberg, 1st Duke of Schomberg

Category:Cultural depictions of William III of England


The Infanta Maria Theresa of Spain

Prompt: Focus on The Infanta Maria Theresa of Spain and explain the abstract.

The Infanta Maria Theresa of Spain or The Infanta Maria Theresa aged 14 is a portrait by Diego Velázquez of Maria Theresa of Spain, from 1653, when she was about thirteen years. It has been cut down at the top and bottom and is now in the Kunsthistorisches Museum in Vienna. It is considered one of the strongest of artist' late portraits, showing its subject in a majestic pose, illuminated in a light dress against a dark background. Its seriousness and formality is added to by the two watches she carries, whilst the handkerchief in her left hand is one of the painting's highlights.Velázquez and his assistants created three paintings to be sent to potential husbands for the Infanta (who eventually married Louis XIV). Two other versions are on display in the Museum of Fine Arts, Boston and the Louvre.

Category:Portraits by Diego Velázquez in the Kunsthistorisches Museum


The Infanta Maria Theresa of Spain

Prompt: Explain the abstract of this artwork, The Infanta Maria Theresa of Spain.

The Infanta Maria Theresa of Spain or The Infanta Maria Theresa aged 14 is a portrait by Diego Velázquez of Maria Theresa of Spain, from 1653, when she was about thirteen years. It has been cut down at the top and bottom and is now in the Kunsthistorisches Museum in Vienna. It is considered one of the strongest of artist' late portraits, showing its subject in a majestic pose, illuminated in a light dress against a dark background. Its seriousness and formality is added to by the two watches she carries, whilst the handkerchief in her left hand is one of the painting's highlights.Velázquez and his assistants created three paintings to be sent to potential husbands for the Infanta (who eventually married Louis XIV). Two other versions are on display in the Museum of Fine Arts, Boston and the Louvre.

Category:Portraits by Diego Velázquez in the Kunsthistorisches Museum


The Infanta Maria Theresa of Spain

Prompt: How does The Infanta Maria Theresa of Spain explain its abstract?

The Infanta Maria Theresa of Spain or The Infanta Maria Theresa aged 14 is a portrait by Diego Velázquez of Maria Theresa of Spain, from 1653, when she was about thirteen years. It has been cut down at the top and bottom and is now in the Kunsthistorisches Museum in Vienna. It is considered one of the strongest of artist' late portraits, showing its subject in a majestic pose, illuminated in a light dress against a dark background. Its seriousness and formality is added to by the two watches she carries, whilst the handkerchief in her left hand is one of the painting's highlights.Velázquez and his assistants created three paintings to be sent to potential husbands for the Infanta (who eventually married Louis XIV). Two other versions are on display in the Museum of Fine Arts, Boston and the Louvre.

Category:Portraits by Diego Velázquez in the Kunsthistorisches Museum


The Infanta Maria Theresa of Spain

Prompt: In The Infanta Maria Theresa of Spain, how is the abstract discussed?

The Infanta Maria Theresa of Spain or The Infanta Maria Theresa aged 14 is a portrait by Diego Velázquez of Maria Theresa of Spain, from 1653, when she was about thirteen years. It has been cut down at the top and bottom and is now in the Kunsthistorisches Museum in Vienna. It is considered one of the strongest of artist' late portraits, showing its subject in a majestic pose, illuminated in a light dress against a dark background. Its seriousness and formality is added to by the two watches she carries, whilst the handkerchief in her left hand is one of the painting's highlights.Velázquez and his assistants created three paintings to be sent to potential husbands for the Infanta (who eventually married Louis XIV). Two other versions are on display in the Museum of Fine Arts, Boston and the Louvre.

Category:Portraits by Diego Velázquez in the Kunsthistorisches Museum


Christ Leaving the Praetorium

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

Christ Leaving the Praetorium is an oil-on-canvas painting by French artist Gustave Doré, created between 1867 and 1872. It was the largest of his religious paintings, with 609 by 914 cm, and the painting that he considered to be "the work of his life". The painting was a great success, since it was reproduced in engraving in 1877. Doré himself created other replicas, of which two are known to be extant: one, significantly smaller, is in the Bob Jones University Picture Gallery in Greenville, in South Carolina; the other, almost as large as the original, is kept in the Musée d'Arts de Nantes.The original was acquired in 1988 by the Strasbourg Museum of Modern and Contemporary Art, at the painter's birthplace. It required a long restoration, carried out in public from 1998 to 2003, in the museum's large Gustave Doré Room, where it is exposed.

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

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

Category:Paintings in the Musée d'Arts de Nantes

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

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

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

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

Christ Leaving the Praetorium is an oil-on-canvas painting by French artist Gustave Doré, created between 1867 and 1872. It was the largest of his religious paintings, with 609 by 914 cm, and the painting that he considered to be "the work of his life". The painting was a great success, since it was reproduced in engraving in 1877. Doré himself created other replicas, of which two are known to be extant: one, significantly smaller, is in the Bob Jones University Picture Gallery in Greenville, in South Carolina; the other, almost as large as the original, is kept in the Musée d'Arts de Nantes.The original was acquired in 1988 by the Strasbourg Museum of Modern and Contemporary Art, at the painter's birthplace. It required a long restoration, carried out in public from 1998 to 2003, in the museum's large Gustave Doré Room, where it is exposed.

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

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

Category:Paintings in the Musée d'Arts de Nantes

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

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

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

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

Christ Leaving the Praetorium is an oil-on-canvas painting by French artist Gustave Doré, created between 1867 and 1872. It was the largest of his religious paintings, with 609 by 914 cm, and the painting that he considered to be "the work of his life". The painting was a great success, since it was reproduced in engraving in 1877. Doré himself created other replicas, of which two are known to be extant: one, significantly smaller, is in the Bob Jones University Picture Gallery in Greenville, in South Carolina; the other, almost as large as the original, is kept in the Musée d'Arts de Nantes.The original was acquired in 1988 by the Strasbourg Museum of Modern and Contemporary Art, at the painter's birthplace. It required a long restoration, carried out in public from 1998 to 2003, in the museum's large Gustave Doré Room, where it is exposed.

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

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

Category:Paintings in the Musée d'Arts de Nantes

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

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

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

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

Christ Leaving the Praetorium is an oil-on-canvas painting by French artist Gustave Doré, created between 1867 and 1872. It was the largest of his religious paintings, with 609 by 914 cm, and the painting that he considered to be "the work of his life". The painting was a great success, since it was reproduced in engraving in 1877. Doré himself created other replicas, of which two are known to be extant: one, significantly smaller, is in the Bob Jones University Picture Gallery in Greenville, in South Carolina; the other, almost as large as the original, is kept in the Musée d'Arts de Nantes.The original was acquired in 1988 by the Strasbourg Museum of Modern and Contemporary Art, at the painter's birthplace. It required a long restoration, carried out in public from 1998 to 2003, in the museum's large Gustave Doré Room, where it is exposed.

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

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

Category:Paintings in the Musée d'Arts de Nantes

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

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

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

Prompt: Focus on Christ Leaving the Praetorium and explain the The original painting and its replicas.

The original painting, the most monumental of Doré's paintings, was created in the largest of his Parisian studios, a former gymnasium of 400 m2, located at 3 Rue Bayard, and rented since 1865. After its completion in April 1872, it was first exhibited at the Doré Gallery, in London, starting in May.In 1873, the owners of his London gallery, James Fairless and George Lord Beeforth, commissioned him a replica. Not having obtaining a satisfaction, they reiterated their request two years later. Doré created a replica, of large but slightly smaller dimensions (482 by 722 cm), painted between 1876 and 1883. It is owned by the Nantes Museum of Fine Arts, which bought it in the United States, in 1984.Doré informed by letter Fairless and Beeforth, on February 24, 1882, by letter, that six replicas were in the making. Of this, a third extant version, kept at Bob Jones University in Greenville, is significantly smaller than the previous two (148 by 223 cm).

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

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

Category:Paintings in the Musée d'Arts de Nantes

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

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

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

Prompt: Explain the The original painting and its replicas of this artwork, Christ Leaving the Praetorium.

The original painting, the most monumental of Doré's paintings, was created in the largest of his Parisian studios, a former gymnasium of 400 m2, located at 3 Rue Bayard, and rented since 1865. After its completion in April 1872, it was first exhibited at the Doré Gallery, in London, starting in May.In 1873, the owners of his London gallery, James Fairless and George Lord Beeforth, commissioned him a replica. Not having obtaining a satisfaction, they reiterated their request two years later. Doré created a replica, of large but slightly smaller dimensions (482 by 722 cm), painted between 1876 and 1883. It is owned by the Nantes Museum of Fine Arts, which bought it in the United States, in 1984.Doré informed by letter Fairless and Beeforth, on February 24, 1882, by letter, that six replicas were in the making. Of this, a third extant version, kept at Bob Jones University in Greenville, is significantly smaller than the previous two (148 by 223 cm).

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

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

Category:Paintings in the Musée d'Arts de Nantes

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

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

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

Prompt: How does Christ Leaving the Praetorium explain its The original painting and its replicas?

The original painting, the most monumental of Doré's paintings, was created in the largest of his Parisian studios, a former gymnasium of 400 m2, located at 3 Rue Bayard, and rented since 1865. After its completion in April 1872, it was first exhibited at the Doré Gallery, in London, starting in May.In 1873, the owners of his London gallery, James Fairless and George Lord Beeforth, commissioned him a replica. Not having obtaining a satisfaction, they reiterated their request two years later. Doré created a replica, of large but slightly smaller dimensions (482 by 722 cm), painted between 1876 and 1883. It is owned by the Nantes Museum of Fine Arts, which bought it in the United States, in 1984.Doré informed by letter Fairless and Beeforth, on February 24, 1882, by letter, that six replicas were in the making. Of this, a third extant version, kept at Bob Jones University in Greenville, is significantly smaller than the previous two (148 by 223 cm).

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

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

Category:Paintings in the Musée d'Arts de Nantes

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

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

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

Prompt: In Christ Leaving the Praetorium, how is the The original painting and its replicas discussed?

The original painting, the most monumental of Doré's paintings, was created in the largest of his Parisian studios, a former gymnasium of 400 m2, located at 3 Rue Bayard, and rented since 1865. After its completion in April 1872, it was first exhibited at the Doré Gallery, in London, starting in May.In 1873, the owners of his London gallery, James Fairless and George Lord Beeforth, commissioned him a replica. Not having obtaining a satisfaction, they reiterated their request two years later. Doré created a replica, of large but slightly smaller dimensions (482 by 722 cm), painted between 1876 and 1883. It is owned by the Nantes Museum of Fine Arts, which bought it in the United States, in 1984.Doré informed by letter Fairless and Beeforth, on February 24, 1882, by letter, that six replicas were in the making. Of this, a third extant version, kept at Bob Jones University in Greenville, is significantly smaller than the previous two (148 by 223 cm).

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

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

Category:Paintings in the Musée d'Arts de Nantes

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

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

Category:Cultural depictions of Herod Antipas


Christ Leaving the Praetorium

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

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

Replica in the Museum of Nantes (1876–1883)

Category:Paintings of the Passion of Jesus

The painting in the room of the museum where its located

Gustave Doré's illustrations for La Grande Bible de Tours

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

Category:Paintings in the Musée d'Arts de Nantes

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

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

Category:Cultural depictions of Herod Antipas