Woman with a Fan (Picasso, 1909)

Prompt: In Woman with a Fan (Picasso, 1909), how is the abstract discussed?

Woman with a Fan is a 1909 oil on canvas painting by Pablo Picasso. It has been held in the Pushkin Museum in Moscow since 1948. It was owned by collector Sergei Shchukin until being seized by the Russian state after the October Revolution in 1917 and assigned to the State Museum of Modern Western Art.In this painting it can be noticed the influence that African art had on Picasso's works at this time, for example in the dark and sculpted features of the face and in the oval shape of the eyes.

Category:Paintings in the Pushkin Museum


Portrait of Bernhart von Reesen

Prompt: Focus on Portrait of Bernhart von Reesen and explain the abstract.

The Portrait of Bernhart von Reesen is a portrait painting by German Renaissance master Albrecht Dürer.  It depicts a man wearing a beret and holding a piece of paper against a red background.  The oil on panel painting is dated 1521 and is in the collection of the Gemäldegalerie Alte Meister of Dresden, Germany.

Category:Collection of the Gemäldegalerie Alte Meister


Portrait of Bernhart von Reesen

Prompt: Explain the abstract of this artwork, Portrait of Bernhart von Reesen.

The Portrait of Bernhart von Reesen is a portrait painting by German Renaissance master Albrecht Dürer.  It depicts a man wearing a beret and holding a piece of paper against a red background.  The oil on panel painting is dated 1521 and is in the collection of the Gemäldegalerie Alte Meister of Dresden, Germany.

Category:Collection of the Gemäldegalerie Alte Meister


Portrait of Bernhart von Reesen

Prompt: How does Portrait of Bernhart von Reesen explain its abstract?

The Portrait of Bernhart von Reesen is a portrait painting by German Renaissance master Albrecht Dürer.  It depicts a man wearing a beret and holding a piece of paper against a red background.  The oil on panel painting is dated 1521 and is in the collection of the Gemäldegalerie Alte Meister of Dresden, Germany.

Category:Collection of the Gemäldegalerie Alte Meister


Portrait of Bernhart von Reesen

Prompt: In Portrait of Bernhart von Reesen, how is the abstract discussed?

The Portrait of Bernhart von Reesen is a portrait painting by German Renaissance master Albrecht Dürer.  It depicts a man wearing a beret and holding a piece of paper against a red background.  The oil on panel painting is dated 1521 and is in the collection of the Gemäldegalerie Alte Meister of Dresden, Germany.

Category:Collection of the Gemäldegalerie Alte Meister


Portrait of Bernhart von Reesen

Prompt: Focus on Portrait of Bernhart von Reesen and explain the Background and details.

The painting was executed during the artist's trip to the Low Countries in the period 1520–1521. On 16 March 1521, Dürer wrote in his diary that he had portrayed in Antwerp one Bernhart von Reesen, for which he was paid eight florins and some small gifts for his wife and maid.The sitter is portrayed wearing black garments and a white shirt. His hands, which, according to the Flemish painting tradition, are cut off on the lower border, hold a small piece of paper with writing on it.  Dürer's portrait mixes traits of Netherlandish portraiture tradition with the Venetian tradition.The sitter is shown in three-quarter profile set against a red background.  The portrait which shows the sitter from close up accentuates the bright face and the large beret. The face is angular but softened through delicate modelling.  Von Reesen is depicted as powerful and confident but his gaze turned to the left in the distance gives his pose at the same time a contemplative quality. The composition is dominated by diagonal lines which give the portrait an intense quality.

Category:Collection of the Gemäldegalerie Alte Meister


Portrait of Bernhart von Reesen

Prompt: Explain the Background and details of this artwork, Portrait of Bernhart von Reesen.

The painting was executed during the artist's trip to the Low Countries in the period 1520–1521. On 16 March 1521, Dürer wrote in his diary that he had portrayed in Antwerp one Bernhart von Reesen, for which he was paid eight florins and some small gifts for his wife and maid.The sitter is portrayed wearing black garments and a white shirt. His hands, which, according to the Flemish painting tradition, are cut off on the lower border, hold a small piece of paper with writing on it.  Dürer's portrait mixes traits of Netherlandish portraiture tradition with the Venetian tradition.The sitter is shown in three-quarter profile set against a red background.  The portrait which shows the sitter from close up accentuates the bright face and the large beret. The face is angular but softened through delicate modelling.  Von Reesen is depicted as powerful and confident but his gaze turned to the left in the distance gives his pose at the same time a contemplative quality. The composition is dominated by diagonal lines which give the portrait an intense quality.

Category:Collection of the Gemäldegalerie Alte Meister


Portrait of Bernhart von Reesen

Prompt: How does Portrait of Bernhart von Reesen explain its Background and details?

The painting was executed during the artist's trip to the Low Countries in the period 1520–1521. On 16 March 1521, Dürer wrote in his diary that he had portrayed in Antwerp one Bernhart von Reesen, for which he was paid eight florins and some small gifts for his wife and maid.The sitter is portrayed wearing black garments and a white shirt. His hands, which, according to the Flemish painting tradition, are cut off on the lower border, hold a small piece of paper with writing on it.  Dürer's portrait mixes traits of Netherlandish portraiture tradition with the Venetian tradition.The sitter is shown in three-quarter profile set against a red background.  The portrait which shows the sitter from close up accentuates the bright face and the large beret. The face is angular but softened through delicate modelling.  Von Reesen is depicted as powerful and confident but his gaze turned to the left in the distance gives his pose at the same time a contemplative quality. The composition is dominated by diagonal lines which give the portrait an intense quality.

Category:Collection of the Gemäldegalerie Alte Meister


Portrait of Bernhart von Reesen

Prompt: In Portrait of Bernhart von Reesen, how is the Background and details discussed?

The painting was executed during the artist's trip to the Low Countries in the period 1520–1521. On 16 March 1521, Dürer wrote in his diary that he had portrayed in Antwerp one Bernhart von Reesen, for which he was paid eight florins and some small gifts for his wife and maid.The sitter is portrayed wearing black garments and a white shirt. His hands, which, according to the Flemish painting tradition, are cut off on the lower border, hold a small piece of paper with writing on it.  Dürer's portrait mixes traits of Netherlandish portraiture tradition with the Venetian tradition.The sitter is shown in three-quarter profile set against a red background.  The portrait which shows the sitter from close up accentuates the bright face and the large beret. The face is angular but softened through delicate modelling.  Von Reesen is depicted as powerful and confident but his gaze turned to the left in the distance gives his pose at the same time a contemplative quality. The composition is dominated by diagonal lines which give the portrait an intense quality.

Category:Collection of the Gemäldegalerie Alte Meister


Portrait of Bernhart von Reesen

Prompt: Focus on Portrait of Bernhart von Reesen and explain the Identification of the sitter.

The sitter for the portrait has been identified on the basis of the letter he is holding in his hands and the entry in Dürer's diary.  Although the writing is hard to make out, it has been determined that the man should be identified with Bernhard von Reesen. Von Reesen was a successful merchant from Gdańsk who was living in Antwerp at the time. He was thirty years old when the portrait was painted.  He died the same year.Some scholars have identified the sitter in the past with the Flemish painter Bernard van Orley from Brussels whom Dürer met during his stay in Brussels.  This view was debunked in 1972 by Dr. Erna Brand who conclusively showed that the sitter was in fact Bernhard von Reesen.

Category:Collection of the Gemäldegalerie Alte Meister


Portrait of Bernhart von Reesen

Prompt: Explain the Identification of the sitter of this artwork, Portrait of Bernhart von Reesen.

The sitter for the portrait has been identified on the basis of the letter he is holding in his hands and the entry in Dürer's diary.  Although the writing is hard to make out, it has been determined that the man should be identified with Bernhard von Reesen. Von Reesen was a successful merchant from Gdańsk who was living in Antwerp at the time. He was thirty years old when the portrait was painted.  He died the same year.Some scholars have identified the sitter in the past with the Flemish painter Bernard van Orley from Brussels whom Dürer met during his stay in Brussels.  This view was debunked in 1972 by Dr. Erna Brand who conclusively showed that the sitter was in fact Bernhard von Reesen.

Category:Collection of the Gemäldegalerie Alte Meister


Portrait of Bernhart von Reesen

Prompt: How does Portrait of Bernhart von Reesen explain its Identification of the sitter?

The sitter for the portrait has been identified on the basis of the letter he is holding in his hands and the entry in Dürer's diary.  Although the writing is hard to make out, it has been determined that the man should be identified with Bernhard von Reesen. Von Reesen was a successful merchant from Gdańsk who was living in Antwerp at the time. He was thirty years old when the portrait was painted.  He died the same year.Some scholars have identified the sitter in the past with the Flemish painter Bernard van Orley from Brussels whom Dürer met during his stay in Brussels.  This view was debunked in 1972 by Dr. Erna Brand who conclusively showed that the sitter was in fact Bernhard von Reesen.

Category:Collection of the Gemäldegalerie Alte Meister


Portrait of Bernhart von Reesen

Prompt: In Portrait of Bernhart von Reesen, how is the Identification of the sitter discussed?

The sitter for the portrait has been identified on the basis of the letter he is holding in his hands and the entry in Dürer's diary.  Although the writing is hard to make out, it has been determined that the man should be identified with Bernhard von Reesen. Von Reesen was a successful merchant from Gdańsk who was living in Antwerp at the time. He was thirty years old when the portrait was painted.  He died the same year.Some scholars have identified the sitter in the past with the Flemish painter Bernard van Orley from Brussels whom Dürer met during his stay in Brussels.  This view was debunked in 1972 by Dr. Erna Brand who conclusively showed that the sitter was in fact Bernhard von Reesen.

Category:Collection of the Gemäldegalerie Alte Meister


Echo (sculpture)

Prompt: Focus on Echo (sculpture) and explain the abstract.

Echo is a sculpture by Jaume Plensa, created in 2011, and installed at Seattle's Olympic Sculpture Park, in the U.S. state of Washington. It was modelled after a neighborhood girl; her face was then elongated to distort her features into the form the statue is now.

Category:2011 establishments in Washington (state)

Category:Sculptures of women in Washington (state)


Echo (sculpture)

Prompt: Explain the abstract of this artwork, Echo (sculpture).

Echo is a sculpture by Jaume Plensa, created in 2011, and installed at Seattle's Olympic Sculpture Park, in the U.S. state of Washington. It was modelled after a neighborhood girl; her face was then elongated to distort her features into the form the statue is now.

Category:2011 establishments in Washington (state)

Category:Sculptures of women in Washington (state)


Echo (sculpture)

Prompt: How does Echo (sculpture) explain its abstract?

Echo is a sculpture by Jaume Plensa, created in 2011, and installed at Seattle's Olympic Sculpture Park, in the U.S. state of Washington. It was modelled after a neighborhood girl; her face was then elongated to distort her features into the form the statue is now.

Category:2011 establishments in Washington (state)

Category:Sculptures of women in Washington (state)


Echo (sculpture)

Prompt: In Echo (sculpture), how is the abstract discussed?

Echo is a sculpture by Jaume Plensa, created in 2011, and installed at Seattle's Olympic Sculpture Park, in the U.S. state of Washington. It was modelled after a neighborhood girl; her face was then elongated to distort her features into the form the statue is now.

Category:2011 establishments in Washington (state)

Category:Sculptures of women in Washington (state)


Secret Painting

Prompt: Focus on Secret Painting and explain the abstract.

Secret Painting is a series of artworks created by British conceptual artist Mel Ramsden for the collective Art & Language between 1967 and 1968. The series consists of monochrome paintings juxtaposed with text panels explaining the absence of a conventional subject; for example, one states that the painting in question is invisible.

Château de Montsoreau-Museum of Contemporary Art

Château de Montsoreau - musée d'Art contemporain


Secret Painting

Prompt: Explain the abstract of this artwork, Secret Painting.

Secret Painting is a series of artworks created by British conceptual artist Mel Ramsden for the collective Art & Language between 1967 and 1968. The series consists of monochrome paintings juxtaposed with text panels explaining the absence of a conventional subject; for example, one states that the painting in question is invisible.

Château de Montsoreau-Museum of Contemporary Art

Château de Montsoreau - musée d'Art contemporain


Secret Painting

Prompt: How does Secret Painting explain its abstract?

Secret Painting is a series of artworks created by British conceptual artist Mel Ramsden for the collective Art & Language between 1967 and 1968. The series consists of monochrome paintings juxtaposed with text panels explaining the absence of a conventional subject; for example, one states that the painting in question is invisible.

Château de Montsoreau-Museum of Contemporary Art

Château de Montsoreau - musée d'Art contemporain


Secret Painting

Prompt: In Secret Painting, how is the abstract discussed?

Secret Painting is a series of artworks created by British conceptual artist Mel Ramsden for the collective Art & Language between 1967 and 1968. The series consists of monochrome paintings juxtaposed with text panels explaining the absence of a conventional subject; for example, one states that the painting in question is invisible.

Château de Montsoreau-Museum of Contemporary Art

Château de Montsoreau - musée d'Art contemporain


Secret Painting

Prompt: Focus on Secret Painting and explain the Background and analysis.

The series is distinguished from the monochrome paintings usually produced in the field of visual arts by their accompanying block of texts. It references both the history of monochrome painting and Kazimir Malevich's Black Square (1915), as well as functioning as an answer given by Ramsden to the paintings of Ad Reinhardt (1913-1967), an American painter and theoretician, a precursor of conceptual and minimal art.The series has raised questions of the status of the art object and the play that is established between the artist and the visitor in the possible revelation of content. To his amusement, during the exhibition 1969: The Black Box of Conceptual Art, Ann Stephen (PhD and Chief Curator of the University of Sydney Art Museum) said: I've known Secret Paintings for a long time, but looking at the back, I suddenly realized that there was indeed a secret painting; there is a panel underneath with a secret painting.

Château de Montsoreau-Museum of Contemporary Art

Château de Montsoreau - musée d'Art contemporain


Secret Painting

Prompt: Explain the Background and analysis of this artwork, Secret Painting.

The series is distinguished from the monochrome paintings usually produced in the field of visual arts by their accompanying block of texts. It references both the history of monochrome painting and Kazimir Malevich's Black Square (1915), as well as functioning as an answer given by Ramsden to the paintings of Ad Reinhardt (1913-1967), an American painter and theoretician, a precursor of conceptual and minimal art.The series has raised questions of the status of the art object and the play that is established between the artist and the visitor in the possible revelation of content. To his amusement, during the exhibition 1969: The Black Box of Conceptual Art, Ann Stephen (PhD and Chief Curator of the University of Sydney Art Museum) said: I've known Secret Paintings for a long time, but looking at the back, I suddenly realized that there was indeed a secret painting; there is a panel underneath with a secret painting.

Château de Montsoreau-Museum of Contemporary Art

Château de Montsoreau - musée d'Art contemporain


Secret Painting

Prompt: How does Secret Painting explain its Background and analysis?

The series is distinguished from the monochrome paintings usually produced in the field of visual arts by their accompanying block of texts. It references both the history of monochrome painting and Kazimir Malevich's Black Square (1915), as well as functioning as an answer given by Ramsden to the paintings of Ad Reinhardt (1913-1967), an American painter and theoretician, a precursor of conceptual and minimal art.The series has raised questions of the status of the art object and the play that is established between the artist and the visitor in the possible revelation of content. To his amusement, during the exhibition 1969: The Black Box of Conceptual Art, Ann Stephen (PhD and Chief Curator of the University of Sydney Art Museum) said: I've known Secret Paintings for a long time, but looking at the back, I suddenly realized that there was indeed a secret painting; there is a panel underneath with a secret painting.

Château de Montsoreau-Museum of Contemporary Art

Château de Montsoreau - musée d'Art contemporain


Secret Painting

Prompt: In Secret Painting, how is the Background and analysis discussed?

The series is distinguished from the monochrome paintings usually produced in the field of visual arts by their accompanying block of texts. It references both the history of monochrome painting and Kazimir Malevich's Black Square (1915), as well as functioning as an answer given by Ramsden to the paintings of Ad Reinhardt (1913-1967), an American painter and theoretician, a precursor of conceptual and minimal art.The series has raised questions of the status of the art object and the play that is established between the artist and the visitor in the possible revelation of content. To his amusement, during the exhibition 1969: The Black Box of Conceptual Art, Ann Stephen (PhD and Chief Curator of the University of Sydney Art Museum) said: I've known Secret Paintings for a long time, but looking at the back, I suddenly realized that there was indeed a secret painting; there is a panel underneath with a secret painting.

Château de Montsoreau-Museum of Contemporary Art

Château de Montsoreau - musée d'Art contemporain


Secret Painting

Prompt: Focus on Secret Painting and explain the Exhibitions.

Arte Concettuale, Galerie Daniel Templon, Milan, 1971New York Art & Language, Galeria Schema, Florence, 1974Early work 1965-1976, Recent work 1991-1994, Lisson Gallery, Londres, 1994Art & Language and Luhmann, Kunstraum Vienna, Vienne, 1995Art & Language, Kunsthalle St Gallen, Saint-Gall, 1996Then and Now, Lisson Gallery, Londres, 1998Materializing six years: Lucy R. Lippard and the emergence of conceptual art, Brooklyn Museum, New York, 2013Art & Language Uncompleted - Philippe Méaille Collection, MACBA, Barcelone, 2014Unpainting, Galerie d'art de Nouvelle-Galles du Sud, Sydney, 2018Art & Language - Reality (Dark) Fragments (Light), Château de Montsoreau - musée d'Art contemporain, Montsoreau, 2018

Château de Montsoreau-Museum of Contemporary Art


Secret Painting

Prompt: Explain the Exhibitions of this artwork, Secret Painting.

Arte Concettuale, Galerie Daniel Templon, Milan, 1971New York Art & Language, Galeria Schema, Florence, 1974Early work 1965-1976, Recent work 1991-1994, Lisson Gallery, Londres, 1994Art & Language and Luhmann, Kunstraum Vienna, Vienne, 1995Art & Language, Kunsthalle St Gallen, Saint-Gall, 1996Then and Now, Lisson Gallery, Londres, 1998Materializing six years: Lucy R. Lippard and the emergence of conceptual art, Brooklyn Museum, New York, 2013Art & Language Uncompleted - Philippe Méaille Collection, MACBA, Barcelone, 2014Unpainting, Galerie d'art de Nouvelle-Galles du Sud, Sydney, 2018Art & Language - Reality (Dark) Fragments (Light), Château de Montsoreau - musée d'Art contemporain, Montsoreau, 2018

Château de Montsoreau-Museum of Contemporary Art


Secret Painting

Prompt: How does Secret Painting explain its Exhibitions?

Arte Concettuale, Galerie Daniel Templon, Milan, 1971New York Art & Language, Galeria Schema, Florence, 1974Early work 1965-1976, Recent work 1991-1994, Lisson Gallery, Londres, 1994Art & Language and Luhmann, Kunstraum Vienna, Vienne, 1995Art & Language, Kunsthalle St Gallen, Saint-Gall, 1996Then and Now, Lisson Gallery, Londres, 1998Materializing six years: Lucy R. Lippard and the emergence of conceptual art, Brooklyn Museum, New York, 2013Art & Language Uncompleted - Philippe Méaille Collection, MACBA, Barcelone, 2014Unpainting, Galerie d'art de Nouvelle-Galles du Sud, Sydney, 2018Art & Language - Reality (Dark) Fragments (Light), Château de Montsoreau - musée d'Art contemporain, Montsoreau, 2018

Château de Montsoreau-Museum of Contemporary Art


Secret Painting

Prompt: In Secret Painting, how is the Exhibitions discussed?

Arte Concettuale, Galerie Daniel Templon, Milan, 1971New York Art & Language, Galeria Schema, Florence, 1974Early work 1965-1976, Recent work 1991-1994, Lisson Gallery, Londres, 1994Art & Language and Luhmann, Kunstraum Vienna, Vienne, 1995Art & Language, Kunsthalle St Gallen, Saint-Gall, 1996Then and Now, Lisson Gallery, Londres, 1998Materializing six years: Lucy R. Lippard and the emergence of conceptual art, Brooklyn Museum, New York, 2013Art & Language Uncompleted - Philippe Méaille Collection, MACBA, Barcelone, 2014Unpainting, Galerie d'art de Nouvelle-Galles du Sud, Sydney, 2018Art & Language - Reality (Dark) Fragments (Light), Château de Montsoreau - musée d'Art contemporain, Montsoreau, 2018

Château de Montsoreau-Museum of Contemporary Art


Gastrotypographicalassemblage

Prompt: Focus on Gastrotypographicalassemblage and explain the abstract.

Gastrotypographicalassemblage (compound word: Gastro | typographical | assemblage) is a 35-by-8.5-foot (10.7 m × 2.6 m) work of art designed by Lou Dorfsman to decorate the cafeteria in Eero Saarinen's CBS Building on 52nd Street and Sixth Avenue, New York City, New York.As the senior vice president and creative director for marketing communications and design for CBS, Dorfsman was responsible for all aspects of the building's graphics, designating the type, design, and spacing for wall clocks, elevator buttons, and elevator inspection stickers. He designed what he called Gastrotypographicalassemblage for the building's cafeteria, using varied typefaces to list all of the foods offered to patrons in hand-milled wood type. The completed work was based on ideas conceived in the mid-1960s. The project was ultimately completed in 1966 with assistance from graphic designer Herb Lubalin, and Tom Carnase, who crafted the typography from Dorfsman's original design. Dorfsman considered this work to be "his magnum opus, his gift to the world".Gastrotypographicalassemblage was discarded in the early 1990s by CBS, but the work's nine panels were retrieved by designer Nick Fasciano. It was in an advanced state of disrepair, aggravated by improper storage. The piece was acquired by the Atlanta-based Center for Design Study in the mid-2000s, which developed a program to raise the funds needed to support the restoration of the work of art. Funding goals to begin the restoration fell short, and efforts to restore the work did not begin at that time.Following the death of Lou Dorfsman in 2008, it was announced that the Culinary Institute of America in Hyde Park, New York, would serve as the new home for Gastrotypographicalassemblage. The college worked with Nick Fasciano to fund the restoration, and the work was put on public display for the first time starting in March 2014, when it was showcased in the Institute's new Marriott Pavilion and Conference Center in its Hyde Park campus, where it remains to this day.

Category:Cultural history of New York City

Hyde Park campus of the Culinary Institute of America

Category:The Culinary Institute of America


Gastrotypographicalassemblage

Prompt: Explain the abstract of this artwork, Gastrotypographicalassemblage.

Gastrotypographicalassemblage (compound word: Gastro | typographical | assemblage) is a 35-by-8.5-foot (10.7 m × 2.6 m) work of art designed by Lou Dorfsman to decorate the cafeteria in Eero Saarinen's CBS Building on 52nd Street and Sixth Avenue, New York City, New York.As the senior vice president and creative director for marketing communications and design for CBS, Dorfsman was responsible for all aspects of the building's graphics, designating the type, design, and spacing for wall clocks, elevator buttons, and elevator inspection stickers. He designed what he called Gastrotypographicalassemblage for the building's cafeteria, using varied typefaces to list all of the foods offered to patrons in hand-milled wood type. The completed work was based on ideas conceived in the mid-1960s. The project was ultimately completed in 1966 with assistance from graphic designer Herb Lubalin, and Tom Carnase, who crafted the typography from Dorfsman's original design. Dorfsman considered this work to be "his magnum opus, his gift to the world".Gastrotypographicalassemblage was discarded in the early 1990s by CBS, but the work's nine panels were retrieved by designer Nick Fasciano. It was in an advanced state of disrepair, aggravated by improper storage. The piece was acquired by the Atlanta-based Center for Design Study in the mid-2000s, which developed a program to raise the funds needed to support the restoration of the work of art. Funding goals to begin the restoration fell short, and efforts to restore the work did not begin at that time.Following the death of Lou Dorfsman in 2008, it was announced that the Culinary Institute of America in Hyde Park, New York, would serve as the new home for Gastrotypographicalassemblage. The college worked with Nick Fasciano to fund the restoration, and the work was put on public display for the first time starting in March 2014, when it was showcased in the Institute's new Marriott Pavilion and Conference Center in its Hyde Park campus, where it remains to this day.

Category:Cultural history of New York City

Hyde Park campus of the Culinary Institute of America

Category:The Culinary Institute of America


Gastrotypographicalassemblage

Prompt: How does Gastrotypographicalassemblage explain its abstract?

Gastrotypographicalassemblage (compound word: Gastro | typographical | assemblage) is a 35-by-8.5-foot (10.7 m × 2.6 m) work of art designed by Lou Dorfsman to decorate the cafeteria in Eero Saarinen's CBS Building on 52nd Street and Sixth Avenue, New York City, New York.As the senior vice president and creative director for marketing communications and design for CBS, Dorfsman was responsible for all aspects of the building's graphics, designating the type, design, and spacing for wall clocks, elevator buttons, and elevator inspection stickers. He designed what he called Gastrotypographicalassemblage for the building's cafeteria, using varied typefaces to list all of the foods offered to patrons in hand-milled wood type. The completed work was based on ideas conceived in the mid-1960s. The project was ultimately completed in 1966 with assistance from graphic designer Herb Lubalin, and Tom Carnase, who crafted the typography from Dorfsman's original design. Dorfsman considered this work to be "his magnum opus, his gift to the world".Gastrotypographicalassemblage was discarded in the early 1990s by CBS, but the work's nine panels were retrieved by designer Nick Fasciano. It was in an advanced state of disrepair, aggravated by improper storage. The piece was acquired by the Atlanta-based Center for Design Study in the mid-2000s, which developed a program to raise the funds needed to support the restoration of the work of art. Funding goals to begin the restoration fell short, and efforts to restore the work did not begin at that time.Following the death of Lou Dorfsman in 2008, it was announced that the Culinary Institute of America in Hyde Park, New York, would serve as the new home for Gastrotypographicalassemblage. The college worked with Nick Fasciano to fund the restoration, and the work was put on public display for the first time starting in March 2014, when it was showcased in the Institute's new Marriott Pavilion and Conference Center in its Hyde Park campus, where it remains to this day.

Category:Cultural history of New York City

Hyde Park campus of the Culinary Institute of America

Category:The Culinary Institute of America


Gastrotypographicalassemblage

Prompt: In Gastrotypographicalassemblage, how is the abstract discussed?

Gastrotypographicalassemblage (compound word: Gastro | typographical | assemblage) is a 35-by-8.5-foot (10.7 m × 2.6 m) work of art designed by Lou Dorfsman to decorate the cafeteria in Eero Saarinen's CBS Building on 52nd Street and Sixth Avenue, New York City, New York.As the senior vice president and creative director for marketing communications and design for CBS, Dorfsman was responsible for all aspects of the building's graphics, designating the type, design, and spacing for wall clocks, elevator buttons, and elevator inspection stickers. He designed what he called Gastrotypographicalassemblage for the building's cafeteria, using varied typefaces to list all of the foods offered to patrons in hand-milled wood type. The completed work was based on ideas conceived in the mid-1960s. The project was ultimately completed in 1966 with assistance from graphic designer Herb Lubalin, and Tom Carnase, who crafted the typography from Dorfsman's original design. Dorfsman considered this work to be "his magnum opus, his gift to the world".Gastrotypographicalassemblage was discarded in the early 1990s by CBS, but the work's nine panels were retrieved by designer Nick Fasciano. It was in an advanced state of disrepair, aggravated by improper storage. The piece was acquired by the Atlanta-based Center for Design Study in the mid-2000s, which developed a program to raise the funds needed to support the restoration of the work of art. Funding goals to begin the restoration fell short, and efforts to restore the work did not begin at that time.Following the death of Lou Dorfsman in 2008, it was announced that the Culinary Institute of America in Hyde Park, New York, would serve as the new home for Gastrotypographicalassemblage. The college worked with Nick Fasciano to fund the restoration, and the work was put on public display for the first time starting in March 2014, when it was showcased in the Institute's new Marriott Pavilion and Conference Center in its Hyde Park campus, where it remains to this day.

Category:Cultural history of New York City

Hyde Park campus of the Culinary Institute of America

Category:The Culinary Institute of America


Vase with carved peony scrolls

Prompt: Focus on Vase with carved peony scrolls and explain the abstract.

Vase with carved peony scrolls is a Cizhou-type stoneware vase of the Northern Song dynasty, made about 1100 and now in the Asian collection of the Indianapolis Museum of Art, where it is currently on display in the Richard M. Fairbanks Gallery.This Cizhou-style, stoneware vase features a wide, stylish body that was crafted using a white slip and clear glaze overcoat. Rising out of the body is a long, thin neck, topped with a "saucer-shaped mouth." Adorning the central body of the vase is a blend of peony flowers and leaves, with rows of elegant patterns bordering the top and base of the body. Each design was carved deep into the surface of the vase to expose to the dark body beneath the white slip, creating a two-tone color effect and natural shading elements.

Category:Ceramics in the Indianapolis Museum of Art


Vase with carved peony scrolls

Prompt: Explain the abstract of this artwork, Vase with carved peony scrolls.

Vase with carved peony scrolls is a Cizhou-type stoneware vase of the Northern Song dynasty, made about 1100 and now in the Asian collection of the Indianapolis Museum of Art, where it is currently on display in the Richard M. Fairbanks Gallery.This Cizhou-style, stoneware vase features a wide, stylish body that was crafted using a white slip and clear glaze overcoat. Rising out of the body is a long, thin neck, topped with a "saucer-shaped mouth." Adorning the central body of the vase is a blend of peony flowers and leaves, with rows of elegant patterns bordering the top and base of the body. Each design was carved deep into the surface of the vase to expose to the dark body beneath the white slip, creating a two-tone color effect and natural shading elements.

Category:Ceramics in the Indianapolis Museum of Art


Vase with carved peony scrolls

Prompt: How does Vase with carved peony scrolls explain its abstract?

Vase with carved peony scrolls is a Cizhou-type stoneware vase of the Northern Song dynasty, made about 1100 and now in the Asian collection of the Indianapolis Museum of Art, where it is currently on display in the Richard M. Fairbanks Gallery.This Cizhou-style, stoneware vase features a wide, stylish body that was crafted using a white slip and clear glaze overcoat. Rising out of the body is a long, thin neck, topped with a "saucer-shaped mouth." Adorning the central body of the vase is a blend of peony flowers and leaves, with rows of elegant patterns bordering the top and base of the body. Each design was carved deep into the surface of the vase to expose to the dark body beneath the white slip, creating a two-tone color effect and natural shading elements.

Category:Ceramics in the Indianapolis Museum of Art


Vase with carved peony scrolls

Prompt: In Vase with carved peony scrolls, how is the abstract discussed?

Vase with carved peony scrolls is a Cizhou-type stoneware vase of the Northern Song dynasty, made about 1100 and now in the Asian collection of the Indianapolis Museum of Art, where it is currently on display in the Richard M. Fairbanks Gallery.This Cizhou-style, stoneware vase features a wide, stylish body that was crafted using a white slip and clear glaze overcoat. Rising out of the body is a long, thin neck, topped with a "saucer-shaped mouth." Adorning the central body of the vase is a blend of peony flowers and leaves, with rows of elegant patterns bordering the top and base of the body. Each design was carved deep into the surface of the vase to expose to the dark body beneath the white slip, creating a two-tone color effect and natural shading elements.

Category:Ceramics in the Indianapolis Museum of Art


Vase with carved peony scrolls

Prompt: Focus on Vase with carved peony scrolls and explain the Background.

The Song dynasty (960–1279) marked a new period of artistic design, with ceramics reaching new levels of perfection and popularity. One such ceramic style known as Cizhou wares, were produced at kilns across northern China, ranging from the Ningxia to Shandong provinces. The name of this style is derived from the largest manufacturing kilns in the Hebei and Henan provinces, which were located in a region known as Cizhou during the Northern Song dynasty, located in present-day Cixian county. Cizhou ceramics were created to withstand continuous daily use and were manufactured in large enough quantities to be accessible to the general populace. As a result, Cizhou-wares have come to be called "the people’s ware." One result of these wares being considered folk art, is that the potters were able to experiment with new techniques and designs, utilizing both glaze and slip processes as well as brush painting designs. This Cizhou vase featured at the Indianapolis Museum of Art serves as an example of a glaze and slip etching technique, while Cizhou-wares created in later periods often featured brush paintings placed directly on the slip with a protective glaze overcoat.Overall, Cizhou wares have one of the longest histories of all the ceramic styles. This style is noted for having been produced continuously from the 10th century onward, with significant manufacture rates during the Northern Song, Jin, and Yuan dynasties.

Category:Ceramics in the Indianapolis Museum of Art


Vase with carved peony scrolls

Prompt: Explain the Background of this artwork, Vase with carved peony scrolls.

The Song dynasty (960–1279) marked a new period of artistic design, with ceramics reaching new levels of perfection and popularity. One such ceramic style known as Cizhou wares, were produced at kilns across northern China, ranging from the Ningxia to Shandong provinces. The name of this style is derived from the largest manufacturing kilns in the Hebei and Henan provinces, which were located in a region known as Cizhou during the Northern Song dynasty, located in present-day Cixian county. Cizhou ceramics were created to withstand continuous daily use and were manufactured in large enough quantities to be accessible to the general populace. As a result, Cizhou-wares have come to be called "the people’s ware." One result of these wares being considered folk art, is that the potters were able to experiment with new techniques and designs, utilizing both glaze and slip processes as well as brush painting designs. This Cizhou vase featured at the Indianapolis Museum of Art serves as an example of a glaze and slip etching technique, while Cizhou-wares created in later periods often featured brush paintings placed directly on the slip with a protective glaze overcoat.Overall, Cizhou wares have one of the longest histories of all the ceramic styles. This style is noted for having been produced continuously from the 10th century onward, with significant manufacture rates during the Northern Song, Jin, and Yuan dynasties.

Category:Ceramics in the Indianapolis Museum of Art


Vase with carved peony scrolls

Prompt: How does Vase with carved peony scrolls explain its Background?

The Song dynasty (960–1279) marked a new period of artistic design, with ceramics reaching new levels of perfection and popularity. One such ceramic style known as Cizhou wares, were produced at kilns across northern China, ranging from the Ningxia to Shandong provinces. The name of this style is derived from the largest manufacturing kilns in the Hebei and Henan provinces, which were located in a region known as Cizhou during the Northern Song dynasty, located in present-day Cixian county. Cizhou ceramics were created to withstand continuous daily use and were manufactured in large enough quantities to be accessible to the general populace. As a result, Cizhou-wares have come to be called "the people’s ware." One result of these wares being considered folk art, is that the potters were able to experiment with new techniques and designs, utilizing both glaze and slip processes as well as brush painting designs. This Cizhou vase featured at the Indianapolis Museum of Art serves as an example of a glaze and slip etching technique, while Cizhou-wares created in later periods often featured brush paintings placed directly on the slip with a protective glaze overcoat.Overall, Cizhou wares have one of the longest histories of all the ceramic styles. This style is noted for having been produced continuously from the 10th century onward, with significant manufacture rates during the Northern Song, Jin, and Yuan dynasties.

Category:Ceramics in the Indianapolis Museum of Art


Vase with carved peony scrolls

Prompt: In Vase with carved peony scrolls, how is the Background discussed?

The Song dynasty (960–1279) marked a new period of artistic design, with ceramics reaching new levels of perfection and popularity. One such ceramic style known as Cizhou wares, were produced at kilns across northern China, ranging from the Ningxia to Shandong provinces. The name of this style is derived from the largest manufacturing kilns in the Hebei and Henan provinces, which were located in a region known as Cizhou during the Northern Song dynasty, located in present-day Cixian county. Cizhou ceramics were created to withstand continuous daily use and were manufactured in large enough quantities to be accessible to the general populace. As a result, Cizhou-wares have come to be called "the people’s ware." One result of these wares being considered folk art, is that the potters were able to experiment with new techniques and designs, utilizing both glaze and slip processes as well as brush painting designs. This Cizhou vase featured at the Indianapolis Museum of Art serves as an example of a glaze and slip etching technique, while Cizhou-wares created in later periods often featured brush paintings placed directly on the slip with a protective glaze overcoat.Overall, Cizhou wares have one of the longest histories of all the ceramic styles. This style is noted for having been produced continuously from the 10th century onward, with significant manufacture rates during the Northern Song, Jin, and Yuan dynasties.

Category:Ceramics in the Indianapolis Museum of Art


Vase with carved peony scrolls

Prompt: Focus on Vase with carved peony scrolls and explain the Symbolism.

Adorning this vase are a series of peonies, a motif that was very common among Chinese artworks. Due to their bold colors and large size, many in China believe the flowers to symbolize royalty and rank. This symbolic association has earned the peony the name fùguìhuā (富贵花), which means "flower of riches and honor." Tree peonies, or those belonging to the woody family, are the versions traditionally found in Chinese art motifs. These peonies are characterized by large red flowers, which has resulted in them often being called the "king of flowers."During the Sui and Tang Dynasties, the peony was officially introduced into the Chinese imperial gardens. It was not however until royal consort Wu Zetian, who later became the only woman to serve as emperor of China, took an interest in the flower that it gained in popularity. Under her reign, many officials who sought to advance their careers began to show an increased appreciation for the peony, eventually resulting in its widespread acceptance as a flower of wealth and rank.

Category:Ceramics in the Indianapolis Museum of Art


Vase with carved peony scrolls

Prompt: Explain the Symbolism of this artwork, Vase with carved peony scrolls.

Adorning this vase are a series of peonies, a motif that was very common among Chinese artworks. Due to their bold colors and large size, many in China believe the flowers to symbolize royalty and rank. This symbolic association has earned the peony the name fùguìhuā (富贵花), which means "flower of riches and honor." Tree peonies, or those belonging to the woody family, are the versions traditionally found in Chinese art motifs. These peonies are characterized by large red flowers, which has resulted in them often being called the "king of flowers."During the Sui and Tang Dynasties, the peony was officially introduced into the Chinese imperial gardens. It was not however until royal consort Wu Zetian, who later became the only woman to serve as emperor of China, took an interest in the flower that it gained in popularity. Under her reign, many officials who sought to advance their careers began to show an increased appreciation for the peony, eventually resulting in its widespread acceptance as a flower of wealth and rank.

Category:Ceramics in the Indianapolis Museum of Art


Vase with carved peony scrolls

Prompt: How does Vase with carved peony scrolls explain its Symbolism?

Adorning this vase are a series of peonies, a motif that was very common among Chinese artworks. Due to their bold colors and large size, many in China believe the flowers to symbolize royalty and rank. This symbolic association has earned the peony the name fùguìhuā (富贵花), which means "flower of riches and honor." Tree peonies, or those belonging to the woody family, are the versions traditionally found in Chinese art motifs. These peonies are characterized by large red flowers, which has resulted in them often being called the "king of flowers."During the Sui and Tang Dynasties, the peony was officially introduced into the Chinese imperial gardens. It was not however until royal consort Wu Zetian, who later became the only woman to serve as emperor of China, took an interest in the flower that it gained in popularity. Under her reign, many officials who sought to advance their careers began to show an increased appreciation for the peony, eventually resulting in its widespread acceptance as a flower of wealth and rank.

Category:Ceramics in the Indianapolis Museum of Art


Vase with carved peony scrolls

Prompt: In Vase with carved peony scrolls, how is the Symbolism discussed?

Adorning this vase are a series of peonies, a motif that was very common among Chinese artworks. Due to their bold colors and large size, many in China believe the flowers to symbolize royalty and rank. This symbolic association has earned the peony the name fùguìhuā (富贵花), which means "flower of riches and honor." Tree peonies, or those belonging to the woody family, are the versions traditionally found in Chinese art motifs. These peonies are characterized by large red flowers, which has resulted in them often being called the "king of flowers."During the Sui and Tang Dynasties, the peony was officially introduced into the Chinese imperial gardens. It was not however until royal consort Wu Zetian, who later became the only woman to serve as emperor of China, took an interest in the flower that it gained in popularity. Under her reign, many officials who sought to advance their careers began to show an increased appreciation for the peony, eventually resulting in its widespread acceptance as a flower of wealth and rank.

Category:Ceramics in the Indianapolis Museum of Art


Vase with carved peony scrolls

Prompt: Focus on Vase with carved peony scrolls and explain the Acquisition.

This piece is listed as being a gift from Mr. and Mrs. Eli Lilly to the Indianapolis Museum of Art. The vase was donated to the museum in 1947.

Category:Ceramics in the Indianapolis Museum of Art


Vase with carved peony scrolls

Prompt: Explain the Acquisition of this artwork, Vase with carved peony scrolls.

This piece is listed as being a gift from Mr. and Mrs. Eli Lilly to the Indianapolis Museum of Art. The vase was donated to the museum in 1947.

Category:Ceramics in the Indianapolis Museum of Art


Vase with carved peony scrolls

Prompt: How does Vase with carved peony scrolls explain its Acquisition?

This piece is listed as being a gift from Mr. and Mrs. Eli Lilly to the Indianapolis Museum of Art. The vase was donated to the museum in 1947.

Category:Ceramics in the Indianapolis Museum of Art


Vase with carved peony scrolls

Prompt: In Vase with carved peony scrolls, how is the Acquisition discussed?

This piece is listed as being a gift from Mr. and Mrs. Eli Lilly to the Indianapolis Museum of Art. The vase was donated to the museum in 1947.

Category:Ceramics in the Indianapolis Museum of Art


Prompt: Focus on Guidoriccio da Fogliano at the Siege of Montemassi and explain the abstract.

Guidoriccio da Fogliano at the Siege of Montemassi (Italian: Guidoriccio da Fogliano all'assedio di Monte Massi) is a fresco on the western wall of the Sala del Mappamondo in the Palazzo Pubblico in Siena. It shows Guidoriccio da Fogliano, the commander of the Sienese troops, on horseback against the background of a landscape in which the siege of Montemassi takes place..For a long time it was assumed that the work was painted in 1330 by Simone Martini. This dating made it one of the first secular portraits and one of the first monumental landscape paintings. It is widely considered a masterpiece of European painting.In 1977, a frequently acrimonious debate started among art historians about the question whether Martini was indeed the artist. On the same wall in the Sala del Mappamondo another fresco has been discovered that could support the theory that the fresco is not as old as originally thought, and not a work by Martini. However, this matter is still unresolved.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: Explain the abstract of this artwork, Guidoriccio da Fogliano at the Siege of Montemassi.

Guidoriccio da Fogliano at the Siege of Montemassi (Italian: Guidoriccio da Fogliano all'assedio di Monte Massi) is a fresco on the western wall of the Sala del Mappamondo in the Palazzo Pubblico in Siena. It shows Guidoriccio da Fogliano, the commander of the Sienese troops, on horseback against the background of a landscape in which the siege of Montemassi takes place..For a long time it was assumed that the work was painted in 1330 by Simone Martini. This dating made it one of the first secular portraits and one of the first monumental landscape paintings. It is widely considered a masterpiece of European painting.In 1977, a frequently acrimonious debate started among art historians about the question whether Martini was indeed the artist. On the same wall in the Sala del Mappamondo another fresco has been discovered that could support the theory that the fresco is not as old as originally thought, and not a work by Martini. However, this matter is still unresolved.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: How does Guidoriccio da Fogliano at the Siege of Montemassi explain its abstract?

Guidoriccio da Fogliano at the Siege of Montemassi (Italian: Guidoriccio da Fogliano all'assedio di Monte Massi) is a fresco on the western wall of the Sala del Mappamondo in the Palazzo Pubblico in Siena. It shows Guidoriccio da Fogliano, the commander of the Sienese troops, on horseback against the background of a landscape in which the siege of Montemassi takes place..For a long time it was assumed that the work was painted in 1330 by Simone Martini. This dating made it one of the first secular portraits and one of the first monumental landscape paintings. It is widely considered a masterpiece of European painting.In 1977, a frequently acrimonious debate started among art historians about the question whether Martini was indeed the artist. On the same wall in the Sala del Mappamondo another fresco has been discovered that could support the theory that the fresco is not as old as originally thought, and not a work by Martini. However, this matter is still unresolved.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: In Guidoriccio da Fogliano at the Siege of Montemassi, how is the abstract discussed?

Guidoriccio da Fogliano at the Siege of Montemassi (Italian: Guidoriccio da Fogliano all'assedio di Monte Massi) is a fresco on the western wall of the Sala del Mappamondo in the Palazzo Pubblico in Siena. It shows Guidoriccio da Fogliano, the commander of the Sienese troops, on horseback against the background of a landscape in which the siege of Montemassi takes place..For a long time it was assumed that the work was painted in 1330 by Simone Martini. This dating made it one of the first secular portraits and one of the first monumental landscape paintings. It is widely considered a masterpiece of European painting.In 1977, a frequently acrimonious debate started among art historians about the question whether Martini was indeed the artist. On the same wall in the Sala del Mappamondo another fresco has been discovered that could support the theory that the fresco is not as old as originally thought, and not a work by Martini. However, this matter is still unresolved.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: Focus on Guidoriccio da Fogliano at the Siege of Montemassi and explain the Description.

In the middle of the fresco Guidoriccio da Fogliano, a condottiero (mercenary officer) and commander of the Sienese troops, is depicted on horseback. He is shown in profile with a Field Marshal’s baton in his  hand. On the left Montemassi can be seen surrounded by ramparts. To the right of the central figure of Guidoriccio there is a siege engine with the flag of the Sienese Republic in top. Further to the right there is a group of tents at the foot of a hill, with white and black flags and pennants flying. At the bottom of the fresco the year of the conquest of Montemassi by Sienese troops (1328) is given in Roman numerals: MCCC.XX.VIII.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: Explain the Description of this artwork, Guidoriccio da Fogliano at the Siege of Montemassi.

In the middle of the fresco Guidoriccio da Fogliano, a condottiero (mercenary officer) and commander of the Sienese troops, is depicted on horseback. He is shown in profile with a Field Marshal’s baton in his  hand. On the left Montemassi can be seen surrounded by ramparts. To the right of the central figure of Guidoriccio there is a siege engine with the flag of the Sienese Republic in top. Further to the right there is a group of tents at the foot of a hill, with white and black flags and pennants flying. At the bottom of the fresco the year of the conquest of Montemassi by Sienese troops (1328) is given in Roman numerals: MCCC.XX.VIII.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: How does Guidoriccio da Fogliano at the Siege of Montemassi explain its Description?

In the middle of the fresco Guidoriccio da Fogliano, a condottiero (mercenary officer) and commander of the Sienese troops, is depicted on horseback. He is shown in profile with a Field Marshal’s baton in his  hand. On the left Montemassi can be seen surrounded by ramparts. To the right of the central figure of Guidoriccio there is a siege engine with the flag of the Sienese Republic in top. Further to the right there is a group of tents at the foot of a hill, with white and black flags and pennants flying. At the bottom of the fresco the year of the conquest of Montemassi by Sienese troops (1328) is given in Roman numerals: MCCC.XX.VIII.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: In Guidoriccio da Fogliano at the Siege of Montemassi, how is the Description discussed?

In the middle of the fresco Guidoriccio da Fogliano, a condottiero (mercenary officer) and commander of the Sienese troops, is depicted on horseback. He is shown in profile with a Field Marshal’s baton in his  hand. On the left Montemassi can be seen surrounded by ramparts. To the right of the central figure of Guidoriccio there is a siege engine with the flag of the Sienese Republic in top. Further to the right there is a group of tents at the foot of a hill, with white and black flags and pennants flying. At the bottom of the fresco the year of the conquest of Montemassi by Sienese troops (1328) is given in Roman numerals: MCCC.XX.VIII.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: Focus on Guidoriccio da Fogliano at the Siege of Montemassi and explain the History.

The murals in the Palazzo Pubblico were commissioned by the Council of Nine, Siena's ruling body. The murals capture important triumphs in the history of Siena. From the beginning of the 14th century the city council commissioned murals of castles and cities that were conquered by Siena. By decorating the meeting room of the Council of Nine with these images, it was made clear that these cities and castles were now the inalienable property of Siena. In this sense, the frescoes can be seen as an artistic form of political propaganda.These frescoes eventually filled two walls of the meeting room in the Palazzo Pubblico. Between 1314 and 1331 at least seven castles were painted. Documents show that Simone Martini painted at least four of them: Montemassi and Sasso Forte in 1330, and Arcidosso and Castel Del Piano in 1331. Around 1345, many of these frescoes had to make way for the Mappamondo, the world map by Ambrogio Lorenzetti which is now lost. In the seventeenth or eighteenth century, major restoration work was carried out to restore images that had been lost during the construction of the Mappamondo.The fresco with the equestrian image has always captured the imagination of art historians and the general public. It is seen as a unique mix of realism and artistic imagination. For many it is not just a portrait of one particular warlord during a specific campaign, but a reflection on war and knighthood in general. The Guidoriccio has been considered one of the first secular, i.e. strictly non-religious, portraits, and one of the first monumental landscape paintings in Western art. An icon of 14th-century art, it was considered to be one of the best works by Simone Martini.Over the centuries, the horseman has become an emblem of Siena which is still frequently found on souvenirs and local products. Many tourists came, and come, to Siena to see the fresco.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: Explain the History of this artwork, Guidoriccio da Fogliano at the Siege of Montemassi.

The murals in the Palazzo Pubblico were commissioned by the Council of Nine, Siena's ruling body. The murals capture important triumphs in the history of Siena. From the beginning of the 14th century the city council commissioned murals of castles and cities that were conquered by Siena. By decorating the meeting room of the Council of Nine with these images, it was made clear that these cities and castles were now the inalienable property of Siena. In this sense, the frescoes can be seen as an artistic form of political propaganda.These frescoes eventually filled two walls of the meeting room in the Palazzo Pubblico. Between 1314 and 1331 at least seven castles were painted. Documents show that Simone Martini painted at least four of them: Montemassi and Sasso Forte in 1330, and Arcidosso and Castel Del Piano in 1331. Around 1345, many of these frescoes had to make way for the Mappamondo, the world map by Ambrogio Lorenzetti which is now lost. In the seventeenth or eighteenth century, major restoration work was carried out to restore images that had been lost during the construction of the Mappamondo.The fresco with the equestrian image has always captured the imagination of art historians and the general public. It is seen as a unique mix of realism and artistic imagination. For many it is not just a portrait of one particular warlord during a specific campaign, but a reflection on war and knighthood in general. The Guidoriccio has been considered one of the first secular, i.e. strictly non-religious, portraits, and one of the first monumental landscape paintings in Western art. An icon of 14th-century art, it was considered to be one of the best works by Simone Martini.Over the centuries, the horseman has become an emblem of Siena which is still frequently found on souvenirs and local products. Many tourists came, and come, to Siena to see the fresco.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: How does Guidoriccio da Fogliano at the Siege of Montemassi explain its History?

The murals in the Palazzo Pubblico were commissioned by the Council of Nine, Siena's ruling body. The murals capture important triumphs in the history of Siena. From the beginning of the 14th century the city council commissioned murals of castles and cities that were conquered by Siena. By decorating the meeting room of the Council of Nine with these images, it was made clear that these cities and castles were now the inalienable property of Siena. In this sense, the frescoes can be seen as an artistic form of political propaganda.These frescoes eventually filled two walls of the meeting room in the Palazzo Pubblico. Between 1314 and 1331 at least seven castles were painted. Documents show that Simone Martini painted at least four of them: Montemassi and Sasso Forte in 1330, and Arcidosso and Castel Del Piano in 1331. Around 1345, many of these frescoes had to make way for the Mappamondo, the world map by Ambrogio Lorenzetti which is now lost. In the seventeenth or eighteenth century, major restoration work was carried out to restore images that had been lost during the construction of the Mappamondo.The fresco with the equestrian image has always captured the imagination of art historians and the general public. It is seen as a unique mix of realism and artistic imagination. For many it is not just a portrait of one particular warlord during a specific campaign, but a reflection on war and knighthood in general. The Guidoriccio has been considered one of the first secular, i.e. strictly non-religious, portraits, and one of the first monumental landscape paintings in Western art. An icon of 14th-century art, it was considered to be one of the best works by Simone Martini.Over the centuries, the horseman has become an emblem of Siena which is still frequently found on souvenirs and local products. Many tourists came, and come, to Siena to see the fresco.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: In Guidoriccio da Fogliano at the Siege of Montemassi, how is the History discussed?

The murals in the Palazzo Pubblico were commissioned by the Council of Nine, Siena's ruling body. The murals capture important triumphs in the history of Siena. From the beginning of the 14th century the city council commissioned murals of castles and cities that were conquered by Siena. By decorating the meeting room of the Council of Nine with these images, it was made clear that these cities and castles were now the inalienable property of Siena. In this sense, the frescoes can be seen as an artistic form of political propaganda.These frescoes eventually filled two walls of the meeting room in the Palazzo Pubblico. Between 1314 and 1331 at least seven castles were painted. Documents show that Simone Martini painted at least four of them: Montemassi and Sasso Forte in 1330, and Arcidosso and Castel Del Piano in 1331. Around 1345, many of these frescoes had to make way for the Mappamondo, the world map by Ambrogio Lorenzetti which is now lost. In the seventeenth or eighteenth century, major restoration work was carried out to restore images that had been lost during the construction of the Mappamondo.The fresco with the equestrian image has always captured the imagination of art historians and the general public. It is seen as a unique mix of realism and artistic imagination. For many it is not just a portrait of one particular warlord during a specific campaign, but a reflection on war and knighthood in general. The Guidoriccio has been considered one of the first secular, i.e. strictly non-religious, portraits, and one of the first monumental landscape paintings in Western art. An icon of 14th-century art, it was considered to be one of the best works by Simone Martini.Over the centuries, the horseman has become an emblem of Siena which is still frequently found on souvenirs and local products. Many tourists came, and come, to Siena to see the fresco.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: Focus on Guidoriccio da Fogliano at the Siege of Montemassi and explain the Controversy.

The Castle of Montemassi is clearly recognizable in the Guidoriccio. Therefore, it was long believed that this must be the fresco that Simone Martine was commissioned to paint by the Sienese city government in 1330. This assumption was challenged in 1977 by the American art historians Gordon Moran and Michael Mallory. At first, they claimed that while most of the fresco had indeed been painted by Martini, the central image of the horseman had not. They came to this conclusion because in their view horse and rider are not really part of the wider scene. They also pointed out that commander Guidoriccio da Fogliano changed his allegiance to on an enemy of Siena in 1333. It seemed unlikely that the Council of Nine would have tolerated the  portrait of "a turncoat" in such a prominent place in the town hall. Moran and Mallory suggested that the rider image was added to the fresco in 1351, after the death of Guidoriccio da Fogliano who had by then been reinstated as commander of the Sienese troops. Simone Martini died in 1344.This theory was at first not taken seriously at all, and later fiercely contested. Moran and Mallory have stated that they were systematically thwarted by prominent Italian art historians and by the Sienese authorities. Their publications were rejected by journals and not included in scholarly bibliographies and catalogs. They say that they were prevented from presenting their theory at conferences, and were not allowed to do further research in Siena.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: Explain the Controversy of this artwork, Guidoriccio da Fogliano at the Siege of Montemassi.

The Castle of Montemassi is clearly recognizable in the Guidoriccio. Therefore, it was long believed that this must be the fresco that Simone Martine was commissioned to paint by the Sienese city government in 1330. This assumption was challenged in 1977 by the American art historians Gordon Moran and Michael Mallory. At first, they claimed that while most of the fresco had indeed been painted by Martini, the central image of the horseman had not. They came to this conclusion because in their view horse and rider are not really part of the wider scene. They also pointed out that commander Guidoriccio da Fogliano changed his allegiance to on an enemy of Siena in 1333. It seemed unlikely that the Council of Nine would have tolerated the  portrait of "a turncoat" in such a prominent place in the town hall. Moran and Mallory suggested that the rider image was added to the fresco in 1351, after the death of Guidoriccio da Fogliano who had by then been reinstated as commander of the Sienese troops. Simone Martini died in 1344.This theory was at first not taken seriously at all, and later fiercely contested. Moran and Mallory have stated that they were systematically thwarted by prominent Italian art historians and by the Sienese authorities. Their publications were rejected by journals and not included in scholarly bibliographies and catalogs. They say that they were prevented from presenting their theory at conferences, and were not allowed to do further research in Siena.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: How does Guidoriccio da Fogliano at the Siege of Montemassi explain its Controversy?

The Castle of Montemassi is clearly recognizable in the Guidoriccio. Therefore, it was long believed that this must be the fresco that Simone Martine was commissioned to paint by the Sienese city government in 1330. This assumption was challenged in 1977 by the American art historians Gordon Moran and Michael Mallory. At first, they claimed that while most of the fresco had indeed been painted by Martini, the central image of the horseman had not. They came to this conclusion because in their view horse and rider are not really part of the wider scene. They also pointed out that commander Guidoriccio da Fogliano changed his allegiance to on an enemy of Siena in 1333. It seemed unlikely that the Council of Nine would have tolerated the  portrait of "a turncoat" in such a prominent place in the town hall. Moran and Mallory suggested that the rider image was added to the fresco in 1351, after the death of Guidoriccio da Fogliano who had by then been reinstated as commander of the Sienese troops. Simone Martini died in 1344.This theory was at first not taken seriously at all, and later fiercely contested. Moran and Mallory have stated that they were systematically thwarted by prominent Italian art historians and by the Sienese authorities. Their publications were rejected by journals and not included in scholarly bibliographies and catalogs. They say that they were prevented from presenting their theory at conferences, and were not allowed to do further research in Siena.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: In Guidoriccio da Fogliano at the Siege of Montemassi, how is the Controversy discussed?

The Castle of Montemassi is clearly recognizable in the Guidoriccio. Therefore, it was long believed that this must be the fresco that Simone Martine was commissioned to paint by the Sienese city government in 1330. This assumption was challenged in 1977 by the American art historians Gordon Moran and Michael Mallory. At first, they claimed that while most of the fresco had indeed been painted by Martini, the central image of the horseman had not. They came to this conclusion because in their view horse and rider are not really part of the wider scene. They also pointed out that commander Guidoriccio da Fogliano changed his allegiance to on an enemy of Siena in 1333. It seemed unlikely that the Council of Nine would have tolerated the  portrait of "a turncoat" in such a prominent place in the town hall. Moran and Mallory suggested that the rider image was added to the fresco in 1351, after the death of Guidoriccio da Fogliano who had by then been reinstated as commander of the Sienese troops. Simone Martini died in 1344.This theory was at first not taken seriously at all, and later fiercely contested. Moran and Mallory have stated that they were systematically thwarted by prominent Italian art historians and by the Sienese authorities. Their publications were rejected by journals and not included in scholarly bibliographies and catalogs. They say that they were prevented from presenting their theory at conferences, and were not allowed to do further research in Siena.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: Focus on Guidoriccio da Fogliano at the Siege of Montemassi and explain the New ideas on attribution.

The debate took on a new dimension a few years later when  a previously unknown fresco was discovered on the western wall of the Sala del Mappamondo. It is probably one of the castle frescoes that disappeared behind plaster circa 1345 when the Mappamondo was installed in the hall. It is partly overlapped by the Guidoriccio, has a similar theme (two persons and a castle) and is of high quality. Some point to Duccio as the creator, others argue that this underlying fresco is definitely by Simone Martini. According to Moran and Mallory, this is Martini's fresco of the castle in Arcidosso. This would mean that the Guidoriccio cannot be the Montemassi fresco painted by Simone Martini in 1330 because it partly overlaps the image of Arcidosso, which was painted a year later in 1331.The main issue in the Guidoriccio debate therefore no longer was whether perhaps the equestrian image had not been painted by Simone Martini, but whether the entire fresco could be attributed to him. It has been suggested that the Guidoriccio was painted by Lippo Memmi, a brother-in-law of Simone Martini who had a similar style. However, this theory is not widely supported.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: Explain the New ideas on attribution of this artwork, Guidoriccio da Fogliano at the Siege of Montemassi.

The debate took on a new dimension a few years later when  a previously unknown fresco was discovered on the western wall of the Sala del Mappamondo. It is probably one of the castle frescoes that disappeared behind plaster circa 1345 when the Mappamondo was installed in the hall. It is partly overlapped by the Guidoriccio, has a similar theme (two persons and a castle) and is of high quality. Some point to Duccio as the creator, others argue that this underlying fresco is definitely by Simone Martini. According to Moran and Mallory, this is Martini's fresco of the castle in Arcidosso. This would mean that the Guidoriccio cannot be the Montemassi fresco painted by Simone Martini in 1330 because it partly overlaps the image of Arcidosso, which was painted a year later in 1331.The main issue in the Guidoriccio debate therefore no longer was whether perhaps the equestrian image had not been painted by Simone Martini, but whether the entire fresco could be attributed to him. It has been suggested that the Guidoriccio was painted by Lippo Memmi, a brother-in-law of Simone Martini who had a similar style. However, this theory is not widely supported.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: How does Guidoriccio da Fogliano at the Siege of Montemassi explain its New ideas on attribution?

The debate took on a new dimension a few years later when  a previously unknown fresco was discovered on the western wall of the Sala del Mappamondo. It is probably one of the castle frescoes that disappeared behind plaster circa 1345 when the Mappamondo was installed in the hall. It is partly overlapped by the Guidoriccio, has a similar theme (two persons and a castle) and is of high quality. Some point to Duccio as the creator, others argue that this underlying fresco is definitely by Simone Martini. According to Moran and Mallory, this is Martini's fresco of the castle in Arcidosso. This would mean that the Guidoriccio cannot be the Montemassi fresco painted by Simone Martini in 1330 because it partly overlaps the image of Arcidosso, which was painted a year later in 1331.The main issue in the Guidoriccio debate therefore no longer was whether perhaps the equestrian image had not been painted by Simone Martini, but whether the entire fresco could be attributed to him. It has been suggested that the Guidoriccio was painted by Lippo Memmi, a brother-in-law of Simone Martini who had a similar style. However, this theory is not widely supported.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: In Guidoriccio da Fogliano at the Siege of Montemassi, how is the New ideas on attribution discussed?

The debate took on a new dimension a few years later when  a previously unknown fresco was discovered on the western wall of the Sala del Mappamondo. It is probably one of the castle frescoes that disappeared behind plaster circa 1345 when the Mappamondo was installed in the hall. It is partly overlapped by the Guidoriccio, has a similar theme (two persons and a castle) and is of high quality. Some point to Duccio as the creator, others argue that this underlying fresco is definitely by Simone Martini. According to Moran and Mallory, this is Martini's fresco of the castle in Arcidosso. This would mean that the Guidoriccio cannot be the Montemassi fresco painted by Simone Martini in 1330 because it partly overlaps the image of Arcidosso, which was painted a year later in 1331.The main issue in the Guidoriccio debate therefore no longer was whether perhaps the equestrian image had not been painted by Simone Martini, but whether the entire fresco could be attributed to him. It has been suggested that the Guidoriccio was painted by Lippo Memmi, a brother-in-law of Simone Martini who had a similar style. However, this theory is not widely supported.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: Focus on Guidoriccio da Fogliano at the Siege of Montemassi and explain the New ideas about dating.

The debate on the correct attribution of the Guidoriccio raged for decades in scientific journals as well as in the wider media; still no final conclusion has been reached. It is unusual for a debate among art historians about the dating and attribution of a 14th-century work of art to take this long and get so much public attention. Those who think that it is a work by Simone Martini base  their opinion on stylistic similarities with his other work.  Their opponents point out facts concerning the technical preparation of the fresco and possible anachronisms in the imagery that would make it unlikely that it was painted around 1330. They refer  to the architecture of the castles, heraldic elements and the siege engines depicted. They usually conclude that the Guidoriccio could not have been painted before the fifteenth century. The fact that Vasari in his famous painters' biography Le Vite from 1550 makes no mention of a work as prominent as the horseman fresco is seen by some as a reason to date it even later. There is still no consensus about the painter and the date of creation of the Guidoriccio.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: Explain the New ideas about dating of this artwork, Guidoriccio da Fogliano at the Siege of Montemassi.

The debate on the correct attribution of the Guidoriccio raged for decades in scientific journals as well as in the wider media; still no final conclusion has been reached. It is unusual for a debate among art historians about the dating and attribution of a 14th-century work of art to take this long and get so much public attention. Those who think that it is a work by Simone Martini base  their opinion on stylistic similarities with his other work.  Their opponents point out facts concerning the technical preparation of the fresco and possible anachronisms in the imagery that would make it unlikely that it was painted around 1330. They refer  to the architecture of the castles, heraldic elements and the siege engines depicted. They usually conclude that the Guidoriccio could not have been painted before the fifteenth century. The fact that Vasari in his famous painters' biography Le Vite from 1550 makes no mention of a work as prominent as the horseman fresco is seen by some as a reason to date it even later. There is still no consensus about the painter and the date of creation of the Guidoriccio.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: How does Guidoriccio da Fogliano at the Siege of Montemassi explain its New ideas about dating?

The debate on the correct attribution of the Guidoriccio raged for decades in scientific journals as well as in the wider media; still no final conclusion has been reached. It is unusual for a debate among art historians about the dating and attribution of a 14th-century work of art to take this long and get so much public attention. Those who think that it is a work by Simone Martini base  their opinion on stylistic similarities with his other work.  Their opponents point out facts concerning the technical preparation of the fresco and possible anachronisms in the imagery that would make it unlikely that it was painted around 1330. They refer  to the architecture of the castles, heraldic elements and the siege engines depicted. They usually conclude that the Guidoriccio could not have been painted before the fifteenth century. The fact that Vasari in his famous painters' biography Le Vite from 1550 makes no mention of a work as prominent as the horseman fresco is seen by some as a reason to date it even later. There is still no consensus about the painter and the date of creation of the Guidoriccio.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: In Guidoriccio da Fogliano at the Siege of Montemassi, how is the New ideas about dating discussed?

The debate on the correct attribution of the Guidoriccio raged for decades in scientific journals as well as in the wider media; still no final conclusion has been reached. It is unusual for a debate among art historians about the dating and attribution of a 14th-century work of art to take this long and get so much public attention. Those who think that it is a work by Simone Martini base  their opinion on stylistic similarities with his other work.  Their opponents point out facts concerning the technical preparation of the fresco and possible anachronisms in the imagery that would make it unlikely that it was painted around 1330. They refer  to the architecture of the castles, heraldic elements and the siege engines depicted. They usually conclude that the Guidoriccio could not have been painted before the fifteenth century. The fact that Vasari in his famous painters' biography Le Vite from 1550 makes no mention of a work as prominent as the horseman fresco is seen by some as a reason to date it even later. There is still no consensus about the painter and the date of creation of the Guidoriccio.

File:Simone Martini - Equestrian portrait of Guidoriccio da Fogliano - WGA21430.jpg

File:Simone Martini - Guidoriccio da Fogliano - Google Art Project.jpg

Category:Paintings in the Palazzo Pubblico

Lives of the Most Excellent Painters, Sculptors, and Architects

Western wall of the Salla del Mappamondo. Below the ''Guidoriccio'' the previously unknown fresco.


Prompt: Focus on Saint Luke Painting the Virgin (Heemskerck) and explain the abstract.

Saint Luke Painting the Virgin is an oil on canvas painting by the Dutch Golden Age artist Maarten van Heemskerck, from 1532. It is held in the Frans Hals Museum, in Haarlem.

Category:Collection of the Frans Hals Museum

Category:Paintings of Luke the Evangelist

Category:Paintings by Maarten van Heemskerck

Category:Paintings of the Madonna and Child


Prompt: Explain the abstract of this artwork, Saint Luke Painting the Virgin (Heemskerck).

Saint Luke Painting the Virgin is an oil on canvas painting by the Dutch Golden Age artist Maarten van Heemskerck, from 1532. It is held in the Frans Hals Museum, in Haarlem.

Category:Collection of the Frans Hals Museum

Category:Paintings of Luke the Evangelist

Category:Paintings by Maarten van Heemskerck

Category:Paintings of the Madonna and Child


Prompt: How does Saint Luke Painting the Virgin (Heemskerck) explain its abstract?

Saint Luke Painting the Virgin is an oil on canvas painting by the Dutch Golden Age artist Maarten van Heemskerck, from 1532. It is held in the Frans Hals Museum, in Haarlem.

Category:Collection of the Frans Hals Museum

Category:Paintings of Luke the Evangelist

Category:Paintings by Maarten van Heemskerck

Category:Paintings of the Madonna and Child


Prompt: In Saint Luke Painting the Virgin (Heemskerck), how is the abstract discussed?

Saint Luke Painting the Virgin is an oil on canvas painting by the Dutch Golden Age artist Maarten van Heemskerck, from 1532. It is held in the Frans Hals Museum, in Haarlem.

Category:Collection of the Frans Hals Museum

Category:Paintings of Luke the Evangelist

Category:Paintings by Maarten van Heemskerck

Category:Paintings of the Madonna and Child


Prompt: Focus on Saint Luke Painting the Virgin (Heemskerck) and explain the History and description.

This painting shows a baker in the role of Luke the Evangelist painting the Holy Virgin and Child, with a self-portrait in the background as the artist's muse in the form of a laurel-wreathed poet. It is an example of a fairly common 16th- and 17th-century genre in European painting referred to as a Lukas-Madonna in Dutch. Heemskerck painted it before his trip to Italy for the St. Bavochurch in Haarlem. It is painted with exaggerated perspective, and cannot be observed correctly where it hangs today on a museum wall, because it was designed to hang high up in a church. The painting was cut down and divided in two, and the left and right panel have since been reunited, but the top curved piece that once showed a parrot in a cage has been lost. A full description of the painting and the text on the paper in the bottom left-hand corner was documented by Karel van Mander in his Schilder-boeck (1604).Inscription lower left on tromp l'oeil "paper": Tot memorie is Dese Taeffel gegeven / van mertin heemskerck diet heeft gewracht. / Ter eeren Sinte Lucae heeft hyt bedreven, / ons gemeen ghesellen heeft hy mede bedacht / wy moge hem dancken bij dage by nacht / van zyn milde gifte die hier staet present / Dus willen wy bidden met als ons macht / Dat gods gratie hem wil zijn omtrent / Anno Duysent VcXXXII ist volent 23.May.The inscription shows that Heemskerck painted the painting as much for his colleagues in the Haarlem Guild of St. Luke as for the memory of St. Luke. The various disciplines reflected in the guild at that time were painting, sculpture, pottery, wood carving, gold- and silversmith work, painting supplies, and the arts of draughtsmanship, perspective drawing, engraving and painting itself.The idea of a self-portrait with a Madonna and Child in a somewhat similar pose to this one, was painted by Heemskerck's contemporary Jan Cornelisz Vermeyen a bit before this one:

Category:Collection of the Frans Hals Museum

Category:Paintings of Luke the Evangelist

Category:Paintings by Maarten van Heemskerck

Category:Paintings of the Madonna and Child


Prompt: Explain the History and description of this artwork, Saint Luke Painting the Virgin (Heemskerck).

This painting shows a baker in the role of Luke the Evangelist painting the Holy Virgin and Child, with a self-portrait in the background as the artist's muse in the form of a laurel-wreathed poet. It is an example of a fairly common 16th- and 17th-century genre in European painting referred to as a Lukas-Madonna in Dutch. Heemskerck painted it before his trip to Italy for the St. Bavochurch in Haarlem. It is painted with exaggerated perspective, and cannot be observed correctly where it hangs today on a museum wall, because it was designed to hang high up in a church. The painting was cut down and divided in two, and the left and right panel have since been reunited, but the top curved piece that once showed a parrot in a cage has been lost. A full description of the painting and the text on the paper in the bottom left-hand corner was documented by Karel van Mander in his Schilder-boeck (1604).Inscription lower left on tromp l'oeil "paper": Tot memorie is Dese Taeffel gegeven / van mertin heemskerck diet heeft gewracht. / Ter eeren Sinte Lucae heeft hyt bedreven, / ons gemeen ghesellen heeft hy mede bedacht / wy moge hem dancken bij dage by nacht / van zyn milde gifte die hier staet present / Dus willen wy bidden met als ons macht / Dat gods gratie hem wil zijn omtrent / Anno Duysent VcXXXII ist volent 23.May.The inscription shows that Heemskerck painted the painting as much for his colleagues in the Haarlem Guild of St. Luke as for the memory of St. Luke. The various disciplines reflected in the guild at that time were painting, sculpture, pottery, wood carving, gold- and silversmith work, painting supplies, and the arts of draughtsmanship, perspective drawing, engraving and painting itself.The idea of a self-portrait with a Madonna and Child in a somewhat similar pose to this one, was painted by Heemskerck's contemporary Jan Cornelisz Vermeyen a bit before this one:

Category:Collection of the Frans Hals Museum

Category:Paintings of Luke the Evangelist

Category:Paintings by Maarten van Heemskerck

Category:Paintings of the Madonna and Child


Prompt: How does Saint Luke Painting the Virgin (Heemskerck) explain its History and description?

This painting shows a baker in the role of Luke the Evangelist painting the Holy Virgin and Child, with a self-portrait in the background as the artist's muse in the form of a laurel-wreathed poet. It is an example of a fairly common 16th- and 17th-century genre in European painting referred to as a Lukas-Madonna in Dutch. Heemskerck painted it before his trip to Italy for the St. Bavochurch in Haarlem. It is painted with exaggerated perspective, and cannot be observed correctly where it hangs today on a museum wall, because it was designed to hang high up in a church. The painting was cut down and divided in two, and the left and right panel have since been reunited, but the top curved piece that once showed a parrot in a cage has been lost. A full description of the painting and the text on the paper in the bottom left-hand corner was documented by Karel van Mander in his Schilder-boeck (1604).Inscription lower left on tromp l'oeil "paper": Tot memorie is Dese Taeffel gegeven / van mertin heemskerck diet heeft gewracht. / Ter eeren Sinte Lucae heeft hyt bedreven, / ons gemeen ghesellen heeft hy mede bedacht / wy moge hem dancken bij dage by nacht / van zyn milde gifte die hier staet present / Dus willen wy bidden met als ons macht / Dat gods gratie hem wil zijn omtrent / Anno Duysent VcXXXII ist volent 23.May.The inscription shows that Heemskerck painted the painting as much for his colleagues in the Haarlem Guild of St. Luke as for the memory of St. Luke. The various disciplines reflected in the guild at that time were painting, sculpture, pottery, wood carving, gold- and silversmith work, painting supplies, and the arts of draughtsmanship, perspective drawing, engraving and painting itself.The idea of a self-portrait with a Madonna and Child in a somewhat similar pose to this one, was painted by Heemskerck's contemporary Jan Cornelisz Vermeyen a bit before this one:

Category:Collection of the Frans Hals Museum

Category:Paintings of Luke the Evangelist

Category:Paintings by Maarten van Heemskerck

Category:Paintings of the Madonna and Child


Prompt: In Saint Luke Painting the Virgin (Heemskerck), how is the History and description discussed?

This painting shows a baker in the role of Luke the Evangelist painting the Holy Virgin and Child, with a self-portrait in the background as the artist's muse in the form of a laurel-wreathed poet. It is an example of a fairly common 16th- and 17th-century genre in European painting referred to as a Lukas-Madonna in Dutch. Heemskerck painted it before his trip to Italy for the St. Bavochurch in Haarlem. It is painted with exaggerated perspective, and cannot be observed correctly where it hangs today on a museum wall, because it was designed to hang high up in a church. The painting was cut down and divided in two, and the left and right panel have since been reunited, but the top curved piece that once showed a parrot in a cage has been lost. A full description of the painting and the text on the paper in the bottom left-hand corner was documented by Karel van Mander in his Schilder-boeck (1604).Inscription lower left on tromp l'oeil "paper": Tot memorie is Dese Taeffel gegeven / van mertin heemskerck diet heeft gewracht. / Ter eeren Sinte Lucae heeft hyt bedreven, / ons gemeen ghesellen heeft hy mede bedacht / wy moge hem dancken bij dage by nacht / van zyn milde gifte die hier staet present / Dus willen wy bidden met als ons macht / Dat gods gratie hem wil zijn omtrent / Anno Duysent VcXXXII ist volent 23.May.The inscription shows that Heemskerck painted the painting as much for his colleagues in the Haarlem Guild of St. Luke as for the memory of St. Luke. The various disciplines reflected in the guild at that time were painting, sculpture, pottery, wood carving, gold- and silversmith work, painting supplies, and the arts of draughtsmanship, perspective drawing, engraving and painting itself.The idea of a self-portrait with a Madonna and Child in a somewhat similar pose to this one, was painted by Heemskerck's contemporary Jan Cornelisz Vermeyen a bit before this one:

Category:Collection of the Frans Hals Museum

Category:Paintings of Luke the Evangelist

Category:Paintings by Maarten van Heemskerck

Category:Paintings of the Madonna and Child


Golden (sculpture)

Prompt: Focus on Golden (sculpture) and explain the abstract.

Golden is a modern art sculpture installed in the Chatterley Valley, on the outskirts of Tunstall, Stoke-on-Trent in May 2015. The £180,000 artwork is installed on the site of the former Goldendale Ironworks and was designed by the award-winning public art sculptor Wolfgang Buttress, who designed the Rise sculpture in Belfast. It is one of the tallest public art sculptures in Britain. The site was previously occupied by the Potteries Pyramid, which has been erroneously placed there since 2007.

Category:Tourist attractions in Stoke-on-Trent

Category:Buildings and structures in Stoke-on-Trent

Town and Country Planning Act 1990#Section 106