Prompt: In Still Life with Cheeses, Almonds and Pretzels, how is the abstract discussed?

Still Life with Cheeses, Almonds and Pretzels (Dutch: Stilleven met kazen, amandelen en krakelingen) is a painting by the Flemish artist Clara Peeters, c. 1615. It is a still life, painted in oils on a wooden panel, measuring 34.5 cm × 49.5 cm (13.6 in × 19.5 in). Peeters has painted her signature in the handle of the silver bridal knife. The painting is displayed in the Mauritshuis museum in The Hague.

Detail showing self-portrait of the artist, who is wearing a white hat

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels (signature).jpg

Signature of Clara Peeters on the knife handle

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels - detail with portrait of the painter.jpg


Prompt: Focus on Still Life with Cheeses, Almonds and Pretzels and explain the Painting.

Clara Peeters specialised in still lifes with beautiful objects, delicious fruits and expensive food. This type of still life is called "banketje" (banquet) in Dutch. The symbolism of these paintings is not fully known.In this painting, in addition to the objects named in the title, there are also curls of butter, figs and a bread roll. In the background is a gold-plated Venetian glass. The almonds and figs are lying in a dish of Chinese Wanli porcelain. Peeters often used the objects in this painting in her still lifes.Peeters has painted her own portrait reflected in the cover of the "bartmann" jug behind the cheese. She thus followed the example of Jan van Eyck, who painted his self-portrait in the mirror in his 1434 Arnolfini Portrait.  Peeters made a total of seven self-portraits, including this one.

Detail showing self-portrait of the artist, who is wearing a white hat

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels (signature).jpg

Signature of Clara Peeters on the knife handle

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels - detail with portrait of the painter.jpg


Prompt: Explain the Painting of this artwork, Still Life with Cheeses, Almonds and Pretzels.

Clara Peeters specialised in still lifes with beautiful objects, delicious fruits and expensive food. This type of still life is called "banketje" (banquet) in Dutch. The symbolism of these paintings is not fully known.In this painting, in addition to the objects named in the title, there are also curls of butter, figs and a bread roll. In the background is a gold-plated Venetian glass. The almonds and figs are lying in a dish of Chinese Wanli porcelain. Peeters often used the objects in this painting in her still lifes.Peeters has painted her own portrait reflected in the cover of the "bartmann" jug behind the cheese. She thus followed the example of Jan van Eyck, who painted his self-portrait in the mirror in his 1434 Arnolfini Portrait.  Peeters made a total of seven self-portraits, including this one.

Detail showing self-portrait of the artist, who is wearing a white hat

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels (signature).jpg

Signature of Clara Peeters on the knife handle

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels - detail with portrait of the painter.jpg


Prompt: How does Still Life with Cheeses, Almonds and Pretzels explain its Painting?

Clara Peeters specialised in still lifes with beautiful objects, delicious fruits and expensive food. This type of still life is called "banketje" (banquet) in Dutch. The symbolism of these paintings is not fully known.In this painting, in addition to the objects named in the title, there are also curls of butter, figs and a bread roll. In the background is a gold-plated Venetian glass. The almonds and figs are lying in a dish of Chinese Wanli porcelain. Peeters often used the objects in this painting in her still lifes.Peeters has painted her own portrait reflected in the cover of the "bartmann" jug behind the cheese. She thus followed the example of Jan van Eyck, who painted his self-portrait in the mirror in his 1434 Arnolfini Portrait.  Peeters made a total of seven self-portraits, including this one.

Detail showing self-portrait of the artist, who is wearing a white hat

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels (signature).jpg

Signature of Clara Peeters on the knife handle

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels - detail with portrait of the painter.jpg


Prompt: In Still Life with Cheeses, Almonds and Pretzels, how is the Painting discussed?

Clara Peeters specialised in still lifes with beautiful objects, delicious fruits and expensive food. This type of still life is called "banketje" (banquet) in Dutch. The symbolism of these paintings is not fully known.In this painting, in addition to the objects named in the title, there are also curls of butter, figs and a bread roll. In the background is a gold-plated Venetian glass. The almonds and figs are lying in a dish of Chinese Wanli porcelain. Peeters often used the objects in this painting in her still lifes.Peeters has painted her own portrait reflected in the cover of the "bartmann" jug behind the cheese. She thus followed the example of Jan van Eyck, who painted his self-portrait in the mirror in his 1434 Arnolfini Portrait.  Peeters made a total of seven self-portraits, including this one.

Detail showing self-portrait of the artist, who is wearing a white hat

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels (signature).jpg

Signature of Clara Peeters on the knife handle

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels - detail with portrait of the painter.jpg


Prompt: Focus on Still Life with Cheeses, Almonds and Pretzels and explain the Provenance.

The early history of the painting is not known.  It was held in a private collection in France from 1920 until it was auctioned at Drouot-Richelieu in Paris in 1998.  It was bought by the Richard Green Gallery, and sold to a US private collector in 2000. The painting was acquired by the Mauritshuis museum in The Hague in June 2012. The sale was made possible by the support of the Vereniging Rembrandt (and its A.M. Roeters van Lennep Fonds, Utrechtse Rembrandt Cirkel and the Caius Fonds).

Detail showing self-portrait of the artist, who is wearing a white hat

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels (signature).jpg

Signature of Clara Peeters on the knife handle

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels - detail with portrait of the painter.jpg


Prompt: Explain the Provenance of this artwork, Still Life with Cheeses, Almonds and Pretzels.

The early history of the painting is not known.  It was held in a private collection in France from 1920 until it was auctioned at Drouot-Richelieu in Paris in 1998.  It was bought by the Richard Green Gallery, and sold to a US private collector in 2000. The painting was acquired by the Mauritshuis museum in The Hague in June 2012. The sale was made possible by the support of the Vereniging Rembrandt (and its A.M. Roeters van Lennep Fonds, Utrechtse Rembrandt Cirkel and the Caius Fonds).

Detail showing self-portrait of the artist, who is wearing a white hat

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels (signature).jpg

Signature of Clara Peeters on the knife handle

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels - detail with portrait of the painter.jpg


Prompt: How does Still Life with Cheeses, Almonds and Pretzels explain its Provenance?

The early history of the painting is not known.  It was held in a private collection in France from 1920 until it was auctioned at Drouot-Richelieu in Paris in 1998.  It was bought by the Richard Green Gallery, and sold to a US private collector in 2000. The painting was acquired by the Mauritshuis museum in The Hague in June 2012. The sale was made possible by the support of the Vereniging Rembrandt (and its A.M. Roeters van Lennep Fonds, Utrechtse Rembrandt Cirkel and the Caius Fonds).

Detail showing self-portrait of the artist, who is wearing a white hat

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels (signature).jpg

Signature of Clara Peeters on the knife handle

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels - detail with portrait of the painter.jpg


Prompt: In Still Life with Cheeses, Almonds and Pretzels, how is the Provenance discussed?

The early history of the painting is not known.  It was held in a private collection in France from 1920 until it was auctioned at Drouot-Richelieu in Paris in 1998.  It was bought by the Richard Green Gallery, and sold to a US private collector in 2000. The painting was acquired by the Mauritshuis museum in The Hague in June 2012. The sale was made possible by the support of the Vereniging Rembrandt (and its A.M. Roeters van Lennep Fonds, Utrechtse Rembrandt Cirkel and the Caius Fonds).

Detail showing self-portrait of the artist, who is wearing a white hat

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels (signature).jpg

Signature of Clara Peeters on the knife handle

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels - detail with portrait of the painter.jpg


Prompt: Focus on Still Life with Cheeses, Almonds and Pretzels and explain the Legacy.

In a special episode of the TV show Kunstuur on 22 June 2014, which described the renovated Mauritshuis, the Dutch minister Jet Bussemaker explained why Still Life with Cheeses, Almonds and Pretzels was her favorite painting in the museum.

Detail showing self-portrait of the artist, who is wearing a white hat

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels (signature).jpg

Signature of Clara Peeters on the knife handle

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels - detail with portrait of the painter.jpg


Prompt: Explain the Legacy of this artwork, Still Life with Cheeses, Almonds and Pretzels.

In a special episode of the TV show Kunstuur on 22 June 2014, which described the renovated Mauritshuis, the Dutch minister Jet Bussemaker explained why Still Life with Cheeses, Almonds and Pretzels was her favorite painting in the museum.

Detail showing self-portrait of the artist, who is wearing a white hat

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels (signature).jpg

Signature of Clara Peeters on the knife handle

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels - detail with portrait of the painter.jpg


Prompt: How does Still Life with Cheeses, Almonds and Pretzels explain its Legacy?

In a special episode of the TV show Kunstuur on 22 June 2014, which described the renovated Mauritshuis, the Dutch minister Jet Bussemaker explained why Still Life with Cheeses, Almonds and Pretzels was her favorite painting in the museum.

Detail showing self-portrait of the artist, who is wearing a white hat

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels (signature).jpg

Signature of Clara Peeters on the knife handle

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels - detail with portrait of the painter.jpg


Prompt: In Still Life with Cheeses, Almonds and Pretzels, how is the Legacy discussed?

In a special episode of the TV show Kunstuur on 22 June 2014, which described the renovated Mauritshuis, the Dutch minister Jet Bussemaker explained why Still Life with Cheeses, Almonds and Pretzels was her favorite painting in the museum.

Detail showing self-portrait of the artist, who is wearing a white hat

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels (signature).jpg

Signature of Clara Peeters on the knife handle

File:Clara Peeters - Still Life with Cheeses, Almonds and Pretzels - detail with portrait of the painter.jpg


Le ruisseau noir

Prompt: Focus on Le ruisseau noir and explain the abstract.

Le ruisseau noir (The Black Stream) (also known in En. as Stream in a Ravine) is an oil-on-canvas landscape painted in 1865 by the French artist Gustave Courbet. It is currently held and exhibited at the Musée d'Orsay in Paris.

Musée des Beaux-Arts et d'archéologie de Besançon


Le ruisseau noir

Prompt: Explain the abstract of this artwork, Le ruisseau noir.

Le ruisseau noir (The Black Stream) (also known in En. as Stream in a Ravine) is an oil-on-canvas landscape painted in 1865 by the French artist Gustave Courbet. It is currently held and exhibited at the Musée d'Orsay in Paris.

Musée des Beaux-Arts et d'archéologie de Besançon


Le ruisseau noir

Prompt: How does Le ruisseau noir explain its abstract?

Le ruisseau noir (The Black Stream) (also known in En. as Stream in a Ravine) is an oil-on-canvas landscape painted in 1865 by the French artist Gustave Courbet. It is currently held and exhibited at the Musée d'Orsay in Paris.

Musée des Beaux-Arts et d'archéologie de Besançon


Le ruisseau noir

Prompt: In Le ruisseau noir, how is the abstract discussed?

Le ruisseau noir (The Black Stream) (also known in En. as Stream in a Ravine) is an oil-on-canvas landscape painted in 1865 by the French artist Gustave Courbet. It is currently held and exhibited at the Musée d'Orsay in Paris.

Musée des Beaux-Arts et d'archéologie de Besançon


Le ruisseau noir

Prompt: Focus on Le ruisseau noir and explain the History.

This picture was included in the Exposition Universelle of 1867, and was bought from the artist in the same year by the Comte de Nieuwerkerque, Director of Museums, for Napoleon III, at the price of 2000 French francs. It was part of the Emperor's personal property, and was allotted to the Louvre by the Tribunal de la Seine, along with other paintings, on 12 February 1879. In 1881, it was exhibited in the Luxembourg, with the title Le puits noir (The Black Ravine), which is really the name of another work painted in 1869.The landscape is currently housed and exhibited at the Musée d'Orsay in Paris, and represents a gorge, a ravine through which runs a winding stream, its bed littered with rocks, between steep walls covered with wild vegetation. The stream depicted is the Loue, a  capricious creek flowing through the village of Ornans, where Courbet was born. The artist seems to have returned to this spot several times: it can be recognised in a number of his paintingsOf this landscape, Courbet wrote:It is perhaps the best I have ever painted; it shows the Loue walled up between vast boulders of mossy rock, with thick sunlit foliage in the background.Courbet loved to seek out some unspoilt corner in these lonely gorges, where the damp atmosphere conveys the impression of a strange world from which the primordial waters have only just receded. In this work, in which one senses the enthusiasm of the artist, Courbet's technique is at its peak of perfection. He has only used the brush in the background shadows; elsewhere the painting has been done with the palette knife. Courbet crushes his pigments and spreads them diagonally with his knife, thus letting underlying wads of paint show through: this creates the effect of transparency and depth as rich as those obtained by means of glazes in the work of earlier artists. His splendid greens evoke the luxuriance of a semi-aquatic world where vegetation runs riot.

Musée des Beaux-Arts et d'archéologie de Besançon


Le ruisseau noir

Prompt: Explain the History of this artwork, Le ruisseau noir.

This picture was included in the Exposition Universelle of 1867, and was bought from the artist in the same year by the Comte de Nieuwerkerque, Director of Museums, for Napoleon III, at the price of 2000 French francs. It was part of the Emperor's personal property, and was allotted to the Louvre by the Tribunal de la Seine, along with other paintings, on 12 February 1879. In 1881, it was exhibited in the Luxembourg, with the title Le puits noir (The Black Ravine), which is really the name of another work painted in 1869.The landscape is currently housed and exhibited at the Musée d'Orsay in Paris, and represents a gorge, a ravine through which runs a winding stream, its bed littered with rocks, between steep walls covered with wild vegetation. The stream depicted is the Loue, a  capricious creek flowing through the village of Ornans, where Courbet was born. The artist seems to have returned to this spot several times: it can be recognised in a number of his paintingsOf this landscape, Courbet wrote:It is perhaps the best I have ever painted; it shows the Loue walled up between vast boulders of mossy rock, with thick sunlit foliage in the background.Courbet loved to seek out some unspoilt corner in these lonely gorges, where the damp atmosphere conveys the impression of a strange world from which the primordial waters have only just receded. In this work, in which one senses the enthusiasm of the artist, Courbet's technique is at its peak of perfection. He has only used the brush in the background shadows; elsewhere the painting has been done with the palette knife. Courbet crushes his pigments and spreads them diagonally with his knife, thus letting underlying wads of paint show through: this creates the effect of transparency and depth as rich as those obtained by means of glazes in the work of earlier artists. His splendid greens evoke the luxuriance of a semi-aquatic world where vegetation runs riot.

Musée des Beaux-Arts et d'archéologie de Besançon


Le ruisseau noir

Prompt: How does Le ruisseau noir explain its History?

This picture was included in the Exposition Universelle of 1867, and was bought from the artist in the same year by the Comte de Nieuwerkerque, Director of Museums, for Napoleon III, at the price of 2000 French francs. It was part of the Emperor's personal property, and was allotted to the Louvre by the Tribunal de la Seine, along with other paintings, on 12 February 1879. In 1881, it was exhibited in the Luxembourg, with the title Le puits noir (The Black Ravine), which is really the name of another work painted in 1869.The landscape is currently housed and exhibited at the Musée d'Orsay in Paris, and represents a gorge, a ravine through which runs a winding stream, its bed littered with rocks, between steep walls covered with wild vegetation. The stream depicted is the Loue, a  capricious creek flowing through the village of Ornans, where Courbet was born. The artist seems to have returned to this spot several times: it can be recognised in a number of his paintingsOf this landscape, Courbet wrote:It is perhaps the best I have ever painted; it shows the Loue walled up between vast boulders of mossy rock, with thick sunlit foliage in the background.Courbet loved to seek out some unspoilt corner in these lonely gorges, where the damp atmosphere conveys the impression of a strange world from which the primordial waters have only just receded. In this work, in which one senses the enthusiasm of the artist, Courbet's technique is at its peak of perfection. He has only used the brush in the background shadows; elsewhere the painting has been done with the palette knife. Courbet crushes his pigments and spreads them diagonally with his knife, thus letting underlying wads of paint show through: this creates the effect of transparency and depth as rich as those obtained by means of glazes in the work of earlier artists. His splendid greens evoke the luxuriance of a semi-aquatic world where vegetation runs riot.

Musée des Beaux-Arts et d'archéologie de Besançon


Le ruisseau noir

Prompt: In Le ruisseau noir, how is the History discussed?

This picture was included in the Exposition Universelle of 1867, and was bought from the artist in the same year by the Comte de Nieuwerkerque, Director of Museums, for Napoleon III, at the price of 2000 French francs. It was part of the Emperor's personal property, and was allotted to the Louvre by the Tribunal de la Seine, along with other paintings, on 12 February 1879. In 1881, it was exhibited in the Luxembourg, with the title Le puits noir (The Black Ravine), which is really the name of another work painted in 1869.The landscape is currently housed and exhibited at the Musée d'Orsay in Paris, and represents a gorge, a ravine through which runs a winding stream, its bed littered with rocks, between steep walls covered with wild vegetation. The stream depicted is the Loue, a  capricious creek flowing through the village of Ornans, where Courbet was born. The artist seems to have returned to this spot several times: it can be recognised in a number of his paintingsOf this landscape, Courbet wrote:It is perhaps the best I have ever painted; it shows the Loue walled up between vast boulders of mossy rock, with thick sunlit foliage in the background.Courbet loved to seek out some unspoilt corner in these lonely gorges, where the damp atmosphere conveys the impression of a strange world from which the primordial waters have only just receded. In this work, in which one senses the enthusiasm of the artist, Courbet's technique is at its peak of perfection. He has only used the brush in the background shadows; elsewhere the painting has been done with the palette knife. Courbet crushes his pigments and spreads them diagonally with his knife, thus letting underlying wads of paint show through: this creates the effect of transparency and depth as rich as those obtained by means of glazes in the work of earlier artists. His splendid greens evoke the luxuriance of a semi-aquatic world where vegetation runs riot.

Musée des Beaux-Arts et d'archéologie de Besançon


Night-Shining White

Prompt: Focus on Night-Shining White and explain the abstract.

"Night-Shining White" (Chinese: 照夜白圖) is a monochrome ink-on-paper painting by the Chinese artist Han Gan.  It is an example of Tang dynasty painting, created in the middle of the 8th century (circa 750).  The work depicts a cavalry horse owned by the Emperor Xuanzong (reign 712–56) of the Tang dynasty, tethered to a post.  It is considered one of the greatest equine portraits in Chinese painting.  It was acquired by the Metropolitan Museum in 1977.In his time, Han Gan was considered one of the leading artists of China. Originally from a poor family, Han Gan was working in a wine shop in the capital Chang'an when his artistic talent was spotted by the painter and poet Wang Wei, and he became an artist at the imperial court. He was famous for being able capture the character of a horse as well as its physical appearance. European art historians often note the conventionality of the drawings of Han Gan and other representatives of Chinese painting and see this as a significant difference in Chinese animalistics from works depicting animals created by European artists.By order of Emperor Xuanzong, Han Gan created a series of "portraits" of famous horses, and this work may originally have been just one of a series of paintings.  Many of the original paintings have not survived, but they are known through copies made in subsequent centuries.The work is an example of bai hua or "white painting", a monochrome work created using a brush and black ink, with economy of line and some simple shading but no colours.  The composition is based on earlier works of Chinese art, but despite its limited materials, "Night-Shining White" does not lose its spirituality and restless energy.  The painting shows Han Gan's close observation of the subject: in conversation with the Emperor, Han Gan claimed that the horses in the stables were his teachers of painting.The animals depicted in traditional Chinese painting are usually not as anatomically precise as those found in Western paintings, and "Night-Shining White" is not an entirely realistic portrait. The horse is depicted with characteristic features of the fiery-tempered horse of Chinese mythology, indicative of a dragon in disguise as a celestial steed: large burning eyes, flaring nostrils and dancing hoofs. It proportions are somewhat exaggerated, with short and very thin legs and a very round body. Han Gan gave the horse some human features, with eyes are turned to the viewer that seem to appeal to compassion and help.The work was later interpreted as an emblem of Chinese military strength and imperial power, but with undertones of peril: Emperor Xuanzong was distracted by his infatuation with a concubine, neglected his duties, and was deposed.The work is not signed by the artist, but it bear numerous inscriptions, seals and signatures from its subsequent owners—including the seals of the Southern Tang emperor Li Yu, the Song theorist Mi Fu, and the Qianlong Emperor—show that it passed through the hands of many collectors over the following 1,200 years.  The original drawing some 12 inches (30 cm) square was later mounted on a 20 feet (6.1 m) long handscroll to provide sufficient space for the seals and inscriptions.It later came into the collection of Sir Percival David, and was bought by the Metropolitan Museum in 1977, funded by the Dillon Fund.

Category:Paintings in the Metropolitan Museum of Art

The look of the horse conveys his emotional state.


Night-Shining White

Prompt: Explain the abstract of this artwork, Night-Shining White.

"Night-Shining White" (Chinese: 照夜白圖) is a monochrome ink-on-paper painting by the Chinese artist Han Gan.  It is an example of Tang dynasty painting, created in the middle of the 8th century (circa 750).  The work depicts a cavalry horse owned by the Emperor Xuanzong (reign 712–56) of the Tang dynasty, tethered to a post.  It is considered one of the greatest equine portraits in Chinese painting.  It was acquired by the Metropolitan Museum in 1977.In his time, Han Gan was considered one of the leading artists of China. Originally from a poor family, Han Gan was working in a wine shop in the capital Chang'an when his artistic talent was spotted by the painter and poet Wang Wei, and he became an artist at the imperial court. He was famous for being able capture the character of a horse as well as its physical appearance. European art historians often note the conventionality of the drawings of Han Gan and other representatives of Chinese painting and see this as a significant difference in Chinese animalistics from works depicting animals created by European artists.By order of Emperor Xuanzong, Han Gan created a series of "portraits" of famous horses, and this work may originally have been just one of a series of paintings.  Many of the original paintings have not survived, but they are known through copies made in subsequent centuries.The work is an example of bai hua or "white painting", a monochrome work created using a brush and black ink, with economy of line and some simple shading but no colours.  The composition is based on earlier works of Chinese art, but despite its limited materials, "Night-Shining White" does not lose its spirituality and restless energy.  The painting shows Han Gan's close observation of the subject: in conversation with the Emperor, Han Gan claimed that the horses in the stables were his teachers of painting.The animals depicted in traditional Chinese painting are usually not as anatomically precise as those found in Western paintings, and "Night-Shining White" is not an entirely realistic portrait. The horse is depicted with characteristic features of the fiery-tempered horse of Chinese mythology, indicative of a dragon in disguise as a celestial steed: large burning eyes, flaring nostrils and dancing hoofs. It proportions are somewhat exaggerated, with short and very thin legs and a very round body. Han Gan gave the horse some human features, with eyes are turned to the viewer that seem to appeal to compassion and help.The work was later interpreted as an emblem of Chinese military strength and imperial power, but with undertones of peril: Emperor Xuanzong was distracted by his infatuation with a concubine, neglected his duties, and was deposed.The work is not signed by the artist, but it bear numerous inscriptions, seals and signatures from its subsequent owners—including the seals of the Southern Tang emperor Li Yu, the Song theorist Mi Fu, and the Qianlong Emperor—show that it passed through the hands of many collectors over the following 1,200 years.  The original drawing some 12 inches (30 cm) square was later mounted on a 20 feet (6.1 m) long handscroll to provide sufficient space for the seals and inscriptions.It later came into the collection of Sir Percival David, and was bought by the Metropolitan Museum in 1977, funded by the Dillon Fund.

Category:Paintings in the Metropolitan Museum of Art

The look of the horse conveys his emotional state.


Night-Shining White

Prompt: How does Night-Shining White explain its abstract?

"Night-Shining White" (Chinese: 照夜白圖) is a monochrome ink-on-paper painting by the Chinese artist Han Gan.  It is an example of Tang dynasty painting, created in the middle of the 8th century (circa 750).  The work depicts a cavalry horse owned by the Emperor Xuanzong (reign 712–56) of the Tang dynasty, tethered to a post.  It is considered one of the greatest equine portraits in Chinese painting.  It was acquired by the Metropolitan Museum in 1977.In his time, Han Gan was considered one of the leading artists of China. Originally from a poor family, Han Gan was working in a wine shop in the capital Chang'an when his artistic talent was spotted by the painter and poet Wang Wei, and he became an artist at the imperial court. He was famous for being able capture the character of a horse as well as its physical appearance. European art historians often note the conventionality of the drawings of Han Gan and other representatives of Chinese painting and see this as a significant difference in Chinese animalistics from works depicting animals created by European artists.By order of Emperor Xuanzong, Han Gan created a series of "portraits" of famous horses, and this work may originally have been just one of a series of paintings.  Many of the original paintings have not survived, but they are known through copies made in subsequent centuries.The work is an example of bai hua or "white painting", a monochrome work created using a brush and black ink, with economy of line and some simple shading but no colours.  The composition is based on earlier works of Chinese art, but despite its limited materials, "Night-Shining White" does not lose its spirituality and restless energy.  The painting shows Han Gan's close observation of the subject: in conversation with the Emperor, Han Gan claimed that the horses in the stables were his teachers of painting.The animals depicted in traditional Chinese painting are usually not as anatomically precise as those found in Western paintings, and "Night-Shining White" is not an entirely realistic portrait. The horse is depicted with characteristic features of the fiery-tempered horse of Chinese mythology, indicative of a dragon in disguise as a celestial steed: large burning eyes, flaring nostrils and dancing hoofs. It proportions are somewhat exaggerated, with short and very thin legs and a very round body. Han Gan gave the horse some human features, with eyes are turned to the viewer that seem to appeal to compassion and help.The work was later interpreted as an emblem of Chinese military strength and imperial power, but with undertones of peril: Emperor Xuanzong was distracted by his infatuation with a concubine, neglected his duties, and was deposed.The work is not signed by the artist, but it bear numerous inscriptions, seals and signatures from its subsequent owners—including the seals of the Southern Tang emperor Li Yu, the Song theorist Mi Fu, and the Qianlong Emperor—show that it passed through the hands of many collectors over the following 1,200 years.  The original drawing some 12 inches (30 cm) square was later mounted on a 20 feet (6.1 m) long handscroll to provide sufficient space for the seals and inscriptions.It later came into the collection of Sir Percival David, and was bought by the Metropolitan Museum in 1977, funded by the Dillon Fund.

Category:Paintings in the Metropolitan Museum of Art

The look of the horse conveys his emotional state.


Night-Shining White

Prompt: In Night-Shining White, how is the abstract discussed?

"Night-Shining White" (Chinese: 照夜白圖) is a monochrome ink-on-paper painting by the Chinese artist Han Gan.  It is an example of Tang dynasty painting, created in the middle of the 8th century (circa 750).  The work depicts a cavalry horse owned by the Emperor Xuanzong (reign 712–56) of the Tang dynasty, tethered to a post.  It is considered one of the greatest equine portraits in Chinese painting.  It was acquired by the Metropolitan Museum in 1977.In his time, Han Gan was considered one of the leading artists of China. Originally from a poor family, Han Gan was working in a wine shop in the capital Chang'an when his artistic talent was spotted by the painter and poet Wang Wei, and he became an artist at the imperial court. He was famous for being able capture the character of a horse as well as its physical appearance. European art historians often note the conventionality of the drawings of Han Gan and other representatives of Chinese painting and see this as a significant difference in Chinese animalistics from works depicting animals created by European artists.By order of Emperor Xuanzong, Han Gan created a series of "portraits" of famous horses, and this work may originally have been just one of a series of paintings.  Many of the original paintings have not survived, but they are known through copies made in subsequent centuries.The work is an example of bai hua or "white painting", a monochrome work created using a brush and black ink, with economy of line and some simple shading but no colours.  The composition is based on earlier works of Chinese art, but despite its limited materials, "Night-Shining White" does not lose its spirituality and restless energy.  The painting shows Han Gan's close observation of the subject: in conversation with the Emperor, Han Gan claimed that the horses in the stables were his teachers of painting.The animals depicted in traditional Chinese painting are usually not as anatomically precise as those found in Western paintings, and "Night-Shining White" is not an entirely realistic portrait. The horse is depicted with characteristic features of the fiery-tempered horse of Chinese mythology, indicative of a dragon in disguise as a celestial steed: large burning eyes, flaring nostrils and dancing hoofs. It proportions are somewhat exaggerated, with short and very thin legs and a very round body. Han Gan gave the horse some human features, with eyes are turned to the viewer that seem to appeal to compassion and help.The work was later interpreted as an emblem of Chinese military strength and imperial power, but with undertones of peril: Emperor Xuanzong was distracted by his infatuation with a concubine, neglected his duties, and was deposed.The work is not signed by the artist, but it bear numerous inscriptions, seals and signatures from its subsequent owners—including the seals of the Southern Tang emperor Li Yu, the Song theorist Mi Fu, and the Qianlong Emperor—show that it passed through the hands of many collectors over the following 1,200 years.  The original drawing some 12 inches (30 cm) square was later mounted on a 20 feet (6.1 m) long handscroll to provide sufficient space for the seals and inscriptions.It later came into the collection of Sir Percival David, and was bought by the Metropolitan Museum in 1977, funded by the Dillon Fund.

Category:Paintings in the Metropolitan Museum of Art

The look of the horse conveys his emotional state.


Prompt: Focus on Equestrian statue of Joan of Arc (New York City) and explain the abstract.

Joan of Arc is a 1915 bronze equestrian statue on a granite base, sculpted by Anna Hyatt Huntington. The statue is located in Manhattan, New York City, on Riverside Drive and 93rd Street. It depicts the Roman Catholic saint and French folk heroine Joan of Arc.

File:Anna Vaughan Hyatt, 1915. Painted by Marion Boyd Allen.jpg

Category:1915 establishments in New York City

Category:Monuments and memorials in Manhattan

Equestrian statue of Joan of Arc (Portland, Oregon)

Category:Outdoor sculptures in Manhattan

Portrait of Anna Vaughan Hyatt, 1915, painted by [[Marion Boyd Allen

Category:Equestrian statues in New York City

Category:Granite sculptures in New York City

:File:Four prize winners of the New York Camera Club photo competition.jpg

Category:Sculptures of women in New York City

Category:Sculptures by Anna Hyatt Huntington


Prompt: Explain the abstract of this artwork, Equestrian statue of Joan of Arc (New York City).

Joan of Arc is a 1915 bronze equestrian statue on a granite base, sculpted by Anna Hyatt Huntington. The statue is located in Manhattan, New York City, on Riverside Drive and 93rd Street. It depicts the Roman Catholic saint and French folk heroine Joan of Arc.

File:Anna Vaughan Hyatt, 1915. Painted by Marion Boyd Allen.jpg

Category:1915 establishments in New York City

Category:Monuments and memorials in Manhattan

Equestrian statue of Joan of Arc (Portland, Oregon)

Category:Outdoor sculptures in Manhattan

Portrait of Anna Vaughan Hyatt, 1915, painted by [[Marion Boyd Allen

Category:Equestrian statues in New York City

Category:Granite sculptures in New York City

:File:Four prize winners of the New York Camera Club photo competition.jpg

Category:Sculptures of women in New York City

Category:Sculptures by Anna Hyatt Huntington


Prompt: How does Equestrian statue of Joan of Arc (New York City) explain its abstract?

Joan of Arc is a 1915 bronze equestrian statue on a granite base, sculpted by Anna Hyatt Huntington. The statue is located in Manhattan, New York City, on Riverside Drive and 93rd Street. It depicts the Roman Catholic saint and French folk heroine Joan of Arc.

File:Anna Vaughan Hyatt, 1915. Painted by Marion Boyd Allen.jpg

Category:1915 establishments in New York City

Category:Monuments and memorials in Manhattan

Equestrian statue of Joan of Arc (Portland, Oregon)

Category:Outdoor sculptures in Manhattan

Portrait of Anna Vaughan Hyatt, 1915, painted by [[Marion Boyd Allen

Category:Equestrian statues in New York City

Category:Granite sculptures in New York City

:File:Four prize winners of the New York Camera Club photo competition.jpg

Category:Sculptures of women in New York City

Category:Sculptures by Anna Hyatt Huntington


Prompt: In Equestrian statue of Joan of Arc (New York City), how is the abstract discussed?

Joan of Arc is a 1915 bronze equestrian statue on a granite base, sculpted by Anna Hyatt Huntington. The statue is located in Manhattan, New York City, on Riverside Drive and 93rd Street. It depicts the Roman Catholic saint and French folk heroine Joan of Arc.

File:Anna Vaughan Hyatt, 1915. Painted by Marion Boyd Allen.jpg

Category:1915 establishments in New York City

Category:Monuments and memorials in Manhattan

Equestrian statue of Joan of Arc (Portland, Oregon)

Category:Outdoor sculptures in Manhattan

Portrait of Anna Vaughan Hyatt, 1915, painted by [[Marion Boyd Allen

Category:Equestrian statues in New York City

Category:Granite sculptures in New York City

:File:Four prize winners of the New York Camera Club photo competition.jpg

Category:Sculptures of women in New York City

Category:Sculptures by Anna Hyatt Huntington


Prompt: Focus on Equestrian statue of Joan of Arc (New York City) and explain the Description and history.

Huntington's Joan of Arc stands at the intersection of Riverside Drive and 93rd Street in Manhattan.  Copies were installed in San Francisco, Blois, Gloucester, Massachusetts, and Quebec City.  Cast in bronze by the Gorham Manufacturing Company to one-and-a-half-times life size, its Mohegan granite base was designed by John Vredenburgh Van Pelt; it contains fragments of the Rouen cell Joan was imprisoned in before her execution, and from Reims Cathedral.   Jean Jules Jusserand spoke at its dedication on December 6, 1915.   The $35,000 ($1,054,100 in 2024) needed to erect the statue was donated by numismatist J. Sanford Saltus, namesake of the American Numismatic Society's Saltus Award.   Huntington was catapulted into the international spotlight after the statue was unveiled with such dignitaries as Mina Edison, Thomas Edison's second wife.  In 1919 the New York Camera Club held a competition on who could take the best photo of the statue.  The top four entrants had their pictures published in the November 16, 1919, New-York Tribune.

File:Anna Vaughan Hyatt, 1915. Painted by Marion Boyd Allen.jpg

Category:1915 establishments in New York City

Category:Monuments and memorials in Manhattan

Equestrian statue of Joan of Arc (Portland, Oregon)

Category:Outdoor sculptures in Manhattan

Portrait of Anna Vaughan Hyatt, 1915, painted by [[Marion Boyd Allen

Category:Equestrian statues in New York City

Category:Granite sculptures in New York City

:File:Four prize winners of the New York Camera Club photo competition.jpg

Category:Sculptures of women in New York City

Category:Sculptures by Anna Hyatt Huntington


Prompt: Explain the Description and history of this artwork, Equestrian statue of Joan of Arc (New York City).

Huntington's Joan of Arc stands at the intersection of Riverside Drive and 93rd Street in Manhattan.  Copies were installed in San Francisco, Blois, Gloucester, Massachusetts, and Quebec City.  Cast in bronze by the Gorham Manufacturing Company to one-and-a-half-times life size, its Mohegan granite base was designed by John Vredenburgh Van Pelt; it contains fragments of the Rouen cell Joan was imprisoned in before her execution, and from Reims Cathedral.   Jean Jules Jusserand spoke at its dedication on December 6, 1915.   The $35,000 ($1,054,100 in 2024) needed to erect the statue was donated by numismatist J. Sanford Saltus, namesake of the American Numismatic Society's Saltus Award.   Huntington was catapulted into the international spotlight after the statue was unveiled with such dignitaries as Mina Edison, Thomas Edison's second wife.  In 1919 the New York Camera Club held a competition on who could take the best photo of the statue.  The top four entrants had their pictures published in the November 16, 1919, New-York Tribune.

File:Anna Vaughan Hyatt, 1915. Painted by Marion Boyd Allen.jpg

Category:1915 establishments in New York City

Category:Monuments and memorials in Manhattan

Equestrian statue of Joan of Arc (Portland, Oregon)

Category:Outdoor sculptures in Manhattan

Portrait of Anna Vaughan Hyatt, 1915, painted by [[Marion Boyd Allen

Category:Equestrian statues in New York City

Category:Granite sculptures in New York City

:File:Four prize winners of the New York Camera Club photo competition.jpg

Category:Sculptures of women in New York City

Category:Sculptures by Anna Hyatt Huntington


Prompt: How does Equestrian statue of Joan of Arc (New York City) explain its Description and history?

Huntington's Joan of Arc stands at the intersection of Riverside Drive and 93rd Street in Manhattan.  Copies were installed in San Francisco, Blois, Gloucester, Massachusetts, and Quebec City.  Cast in bronze by the Gorham Manufacturing Company to one-and-a-half-times life size, its Mohegan granite base was designed by John Vredenburgh Van Pelt; it contains fragments of the Rouen cell Joan was imprisoned in before her execution, and from Reims Cathedral.   Jean Jules Jusserand spoke at its dedication on December 6, 1915.   The $35,000 ($1,054,100 in 2024) needed to erect the statue was donated by numismatist J. Sanford Saltus, namesake of the American Numismatic Society's Saltus Award.   Huntington was catapulted into the international spotlight after the statue was unveiled with such dignitaries as Mina Edison, Thomas Edison's second wife.  In 1919 the New York Camera Club held a competition on who could take the best photo of the statue.  The top four entrants had their pictures published in the November 16, 1919, New-York Tribune.

File:Anna Vaughan Hyatt, 1915. Painted by Marion Boyd Allen.jpg

Category:1915 establishments in New York City

Category:Monuments and memorials in Manhattan

Equestrian statue of Joan of Arc (Portland, Oregon)

Category:Outdoor sculptures in Manhattan

Portrait of Anna Vaughan Hyatt, 1915, painted by [[Marion Boyd Allen

Category:Equestrian statues in New York City

Category:Granite sculptures in New York City

:File:Four prize winners of the New York Camera Club photo competition.jpg

Category:Sculptures of women in New York City

Category:Sculptures by Anna Hyatt Huntington


Prompt: In Equestrian statue of Joan of Arc (New York City), how is the Description and history discussed?

Huntington's Joan of Arc stands at the intersection of Riverside Drive and 93rd Street in Manhattan.  Copies were installed in San Francisco, Blois, Gloucester, Massachusetts, and Quebec City.  Cast in bronze by the Gorham Manufacturing Company to one-and-a-half-times life size, its Mohegan granite base was designed by John Vredenburgh Van Pelt; it contains fragments of the Rouen cell Joan was imprisoned in before her execution, and from Reims Cathedral.   Jean Jules Jusserand spoke at its dedication on December 6, 1915.   The $35,000 ($1,054,100 in 2024) needed to erect the statue was donated by numismatist J. Sanford Saltus, namesake of the American Numismatic Society's Saltus Award.   Huntington was catapulted into the international spotlight after the statue was unveiled with such dignitaries as Mina Edison, Thomas Edison's second wife.  In 1919 the New York Camera Club held a competition on who could take the best photo of the statue.  The top four entrants had their pictures published in the November 16, 1919, New-York Tribune.

File:Anna Vaughan Hyatt, 1915. Painted by Marion Boyd Allen.jpg

Category:1915 establishments in New York City

Category:Monuments and memorials in Manhattan

Equestrian statue of Joan of Arc (Portland, Oregon)

Category:Outdoor sculptures in Manhattan

Portrait of Anna Vaughan Hyatt, 1915, painted by [[Marion Boyd Allen

Category:Equestrian statues in New York City

Category:Granite sculptures in New York City

:File:Four prize winners of the New York Camera Club photo competition.jpg

Category:Sculptures of women in New York City

Category:Sculptures by Anna Hyatt Huntington


Prompt: Focus on Equestrian statue of Joan of Arc (New York City) and explain the Awards.

The plaster model, which she made at the studio of Jules Dalou, earned her Honorable Mention at the 1910 Paris Salon.One of the works of art credited to the City Beautiful movement.Earned Anna Hyatt Huntington the Legion of Honor.

File:Anna Vaughan Hyatt, 1915. Painted by Marion Boyd Allen.jpg

Category:1915 establishments in New York City

Category:Monuments and memorials in Manhattan

Equestrian statue of Joan of Arc (Portland, Oregon)

Category:Outdoor sculptures in Manhattan

Portrait of Anna Vaughan Hyatt, 1915, painted by [[Marion Boyd Allen

Category:Equestrian statues in New York City

Category:Granite sculptures in New York City

:File:Four prize winners of the New York Camera Club photo competition.jpg

Category:Sculptures of women in New York City

Category:Sculptures by Anna Hyatt Huntington


Prompt: Explain the Awards of this artwork, Equestrian statue of Joan of Arc (New York City).

The plaster model, which she made at the studio of Jules Dalou, earned her Honorable Mention at the 1910 Paris Salon.One of the works of art credited to the City Beautiful movement.Earned Anna Hyatt Huntington the Legion of Honor.

File:Anna Vaughan Hyatt, 1915. Painted by Marion Boyd Allen.jpg

Category:1915 establishments in New York City

Category:Monuments and memorials in Manhattan

Equestrian statue of Joan of Arc (Portland, Oregon)

Category:Outdoor sculptures in Manhattan

Portrait of Anna Vaughan Hyatt, 1915, painted by [[Marion Boyd Allen

Category:Equestrian statues in New York City

Category:Granite sculptures in New York City

:File:Four prize winners of the New York Camera Club photo competition.jpg

Category:Sculptures of women in New York City

Category:Sculptures by Anna Hyatt Huntington


Prompt: How does Equestrian statue of Joan of Arc (New York City) explain its Awards?

The plaster model, which she made at the studio of Jules Dalou, earned her Honorable Mention at the 1910 Paris Salon.One of the works of art credited to the City Beautiful movement.Earned Anna Hyatt Huntington the Legion of Honor.

File:Anna Vaughan Hyatt, 1915. Painted by Marion Boyd Allen.jpg

Category:1915 establishments in New York City

Category:Monuments and memorials in Manhattan

Equestrian statue of Joan of Arc (Portland, Oregon)

Category:Outdoor sculptures in Manhattan

Portrait of Anna Vaughan Hyatt, 1915, painted by [[Marion Boyd Allen

Category:Equestrian statues in New York City

Category:Granite sculptures in New York City

:File:Four prize winners of the New York Camera Club photo competition.jpg

Category:Sculptures of women in New York City

Category:Sculptures by Anna Hyatt Huntington


Prompt: In Equestrian statue of Joan of Arc (New York City), how is the Awards discussed?

The plaster model, which she made at the studio of Jules Dalou, earned her Honorable Mention at the 1910 Paris Salon.One of the works of art credited to the City Beautiful movement.Earned Anna Hyatt Huntington the Legion of Honor.

File:Anna Vaughan Hyatt, 1915. Painted by Marion Boyd Allen.jpg

Category:1915 establishments in New York City

Category:Monuments and memorials in Manhattan

Equestrian statue of Joan of Arc (Portland, Oregon)

Category:Outdoor sculptures in Manhattan

Portrait of Anna Vaughan Hyatt, 1915, painted by [[Marion Boyd Allen

Category:Equestrian statues in New York City

Category:Granite sculptures in New York City

:File:Four prize winners of the New York Camera Club photo competition.jpg

Category:Sculptures of women in New York City

Category:Sculptures by Anna Hyatt Huntington


Fuente del Ángel Caído

Prompt: Focus on Fuente del Ángel Caído and explain the abstract.

The Fuente del Ángel Caído (Fountain of the Fallen Angel or Monument of the Fallen Angel) is a fountain located in the Buen Retiro Park in Madrid, Spain. The statue that crowns the monument is the masterpiece of Ricardo Bellver who realized it in plaster in 1877 while a 3rd year pensioner in Rome, inspired by verses from Paradise Lost of John Milton (Canto I). He submitted it to the 1877 edition of the Exposiciones Nacionales de Bellas Artes where it received the first prize. The state acquired the work and presented it to the 1878 Exposition Universelle. Since only works in marble and bronze were accepted, the statue was cast in bronze at this occasion and the plaster original destroyed.The statue returned to Spain in what was then the Museo Nacional de Pintura y Escultura (also known as the Museo de la Trinidad, now part of the Museo del Prado). The director of the museum, Benito Soriano Murillo, proposed its relocation in the open space so that the public could freely enjoy this peculiar and unusual creation. The statue was passed to the city hall that placed it on the spot of its present location which was formerly occupied by the Real Fábrica de Porcelanas de la China before its destruction during the French invasion in 1813, at the intersection of the paseo de Cuba, the paseo de Uruguay and the paseo del Duque de Fernán Nuñez in the Retiro park. The duque de Fernán Nuñez (probably Manuel Falcó y d´Adda y Valcárcel, the husband of the III Duquesa de Fernán Núñez) sponsored the monument. The architect Francisco Jareño was charged to design the pedestal, that is octagonal with figures of devils on each side gripping fishes, lizards and snakes, and placed at the center of a fountain of 10 meters diameter, itself surrounded by a parterre. The inauguration was made by the Queen consort of Spain Maria Christina of Austria in 1885. The monument is 7 meters high (the statue itself is 2.65 meters) and lies at the center of a roundabout named after the statue, that also gives its name to an entrance of the park.While the work, turned over by a student, initially received its share of criticisms, it was mainly highly received by the critics and is now an attraction of the Spanish capital. It is renowned for its dramatic appeal, the tension in the expression and its ambiguity in treating a polemical subject that caused turmoil regarding its possible interpretation as a satanic tribute. It has the reputation to be the only prominent sculpture dedicated to the devil. It is, however, correct that it happens to stand at 666 meters above sea level. There is a polyester resin replica of Bellver's work at the Museum of the Real Academia de Bellas Artes de San Fernando in Madrid where details can be better appreciated.

National Exhibition of Fine Arts (Spain)

Category:Buildings and structures in Jerónimos neighborhood, Madrid


Fuente del Ángel Caído

Prompt: Explain the abstract of this artwork, Fuente del Ángel Caído.

The Fuente del Ángel Caído (Fountain of the Fallen Angel or Monument of the Fallen Angel) is a fountain located in the Buen Retiro Park in Madrid, Spain. The statue that crowns the monument is the masterpiece of Ricardo Bellver who realized it in plaster in 1877 while a 3rd year pensioner in Rome, inspired by verses from Paradise Lost of John Milton (Canto I). He submitted it to the 1877 edition of the Exposiciones Nacionales de Bellas Artes where it received the first prize. The state acquired the work and presented it to the 1878 Exposition Universelle. Since only works in marble and bronze were accepted, the statue was cast in bronze at this occasion and the plaster original destroyed.The statue returned to Spain in what was then the Museo Nacional de Pintura y Escultura (also known as the Museo de la Trinidad, now part of the Museo del Prado). The director of the museum, Benito Soriano Murillo, proposed its relocation in the open space so that the public could freely enjoy this peculiar and unusual creation. The statue was passed to the city hall that placed it on the spot of its present location which was formerly occupied by the Real Fábrica de Porcelanas de la China before its destruction during the French invasion in 1813, at the intersection of the paseo de Cuba, the paseo de Uruguay and the paseo del Duque de Fernán Nuñez in the Retiro park. The duque de Fernán Nuñez (probably Manuel Falcó y d´Adda y Valcárcel, the husband of the III Duquesa de Fernán Núñez) sponsored the monument. The architect Francisco Jareño was charged to design the pedestal, that is octagonal with figures of devils on each side gripping fishes, lizards and snakes, and placed at the center of a fountain of 10 meters diameter, itself surrounded by a parterre. The inauguration was made by the Queen consort of Spain Maria Christina of Austria in 1885. The monument is 7 meters high (the statue itself is 2.65 meters) and lies at the center of a roundabout named after the statue, that also gives its name to an entrance of the park.While the work, turned over by a student, initially received its share of criticisms, it was mainly highly received by the critics and is now an attraction of the Spanish capital. It is renowned for its dramatic appeal, the tension in the expression and its ambiguity in treating a polemical subject that caused turmoil regarding its possible interpretation as a satanic tribute. It has the reputation to be the only prominent sculpture dedicated to the devil. It is, however, correct that it happens to stand at 666 meters above sea level. There is a polyester resin replica of Bellver's work at the Museum of the Real Academia de Bellas Artes de San Fernando in Madrid where details can be better appreciated.

National Exhibition of Fine Arts (Spain)

Category:Buildings and structures in Jerónimos neighborhood, Madrid


Fuente del Ángel Caído

Prompt: How does Fuente del Ángel Caído explain its abstract?

The Fuente del Ángel Caído (Fountain of the Fallen Angel or Monument of the Fallen Angel) is a fountain located in the Buen Retiro Park in Madrid, Spain. The statue that crowns the monument is the masterpiece of Ricardo Bellver who realized it in plaster in 1877 while a 3rd year pensioner in Rome, inspired by verses from Paradise Lost of John Milton (Canto I). He submitted it to the 1877 edition of the Exposiciones Nacionales de Bellas Artes where it received the first prize. The state acquired the work and presented it to the 1878 Exposition Universelle. Since only works in marble and bronze were accepted, the statue was cast in bronze at this occasion and the plaster original destroyed.The statue returned to Spain in what was then the Museo Nacional de Pintura y Escultura (also known as the Museo de la Trinidad, now part of the Museo del Prado). The director of the museum, Benito Soriano Murillo, proposed its relocation in the open space so that the public could freely enjoy this peculiar and unusual creation. The statue was passed to the city hall that placed it on the spot of its present location which was formerly occupied by the Real Fábrica de Porcelanas de la China before its destruction during the French invasion in 1813, at the intersection of the paseo de Cuba, the paseo de Uruguay and the paseo del Duque de Fernán Nuñez in the Retiro park. The duque de Fernán Nuñez (probably Manuel Falcó y d´Adda y Valcárcel, the husband of the III Duquesa de Fernán Núñez) sponsored the monument. The architect Francisco Jareño was charged to design the pedestal, that is octagonal with figures of devils on each side gripping fishes, lizards and snakes, and placed at the center of a fountain of 10 meters diameter, itself surrounded by a parterre. The inauguration was made by the Queen consort of Spain Maria Christina of Austria in 1885. The monument is 7 meters high (the statue itself is 2.65 meters) and lies at the center of a roundabout named after the statue, that also gives its name to an entrance of the park.While the work, turned over by a student, initially received its share of criticisms, it was mainly highly received by the critics and is now an attraction of the Spanish capital. It is renowned for its dramatic appeal, the tension in the expression and its ambiguity in treating a polemical subject that caused turmoil regarding its possible interpretation as a satanic tribute. It has the reputation to be the only prominent sculpture dedicated to the devil. It is, however, correct that it happens to stand at 666 meters above sea level. There is a polyester resin replica of Bellver's work at the Museum of the Real Academia de Bellas Artes de San Fernando in Madrid where details can be better appreciated.

National Exhibition of Fine Arts (Spain)

Category:Buildings and structures in Jerónimos neighborhood, Madrid


Fuente del Ángel Caído

Prompt: In Fuente del Ángel Caído, how is the abstract discussed?

The Fuente del Ángel Caído (Fountain of the Fallen Angel or Monument of the Fallen Angel) is a fountain located in the Buen Retiro Park in Madrid, Spain. The statue that crowns the monument is the masterpiece of Ricardo Bellver who realized it in plaster in 1877 while a 3rd year pensioner in Rome, inspired by verses from Paradise Lost of John Milton (Canto I). He submitted it to the 1877 edition of the Exposiciones Nacionales de Bellas Artes where it received the first prize. The state acquired the work and presented it to the 1878 Exposition Universelle. Since only works in marble and bronze were accepted, the statue was cast in bronze at this occasion and the plaster original destroyed.The statue returned to Spain in what was then the Museo Nacional de Pintura y Escultura (also known as the Museo de la Trinidad, now part of the Museo del Prado). The director of the museum, Benito Soriano Murillo, proposed its relocation in the open space so that the public could freely enjoy this peculiar and unusual creation. The statue was passed to the city hall that placed it on the spot of its present location which was formerly occupied by the Real Fábrica de Porcelanas de la China before its destruction during the French invasion in 1813, at the intersection of the paseo de Cuba, the paseo de Uruguay and the paseo del Duque de Fernán Nuñez in the Retiro park. The duque de Fernán Nuñez (probably Manuel Falcó y d´Adda y Valcárcel, the husband of the III Duquesa de Fernán Núñez) sponsored the monument. The architect Francisco Jareño was charged to design the pedestal, that is octagonal with figures of devils on each side gripping fishes, lizards and snakes, and placed at the center of a fountain of 10 meters diameter, itself surrounded by a parterre. The inauguration was made by the Queen consort of Spain Maria Christina of Austria in 1885. The monument is 7 meters high (the statue itself is 2.65 meters) and lies at the center of a roundabout named after the statue, that also gives its name to an entrance of the park.While the work, turned over by a student, initially received its share of criticisms, it was mainly highly received by the critics and is now an attraction of the Spanish capital. It is renowned for its dramatic appeal, the tension in the expression and its ambiguity in treating a polemical subject that caused turmoil regarding its possible interpretation as a satanic tribute. It has the reputation to be the only prominent sculpture dedicated to the devil. It is, however, correct that it happens to stand at 666 meters above sea level. There is a polyester resin replica of Bellver's work at the Museum of the Real Academia de Bellas Artes de San Fernando in Madrid where details can be better appreciated.

National Exhibition of Fine Arts (Spain)

Category:Buildings and structures in Jerónimos neighborhood, Madrid


Leonidas (sculpture)

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

Leonidas is a sculpture of a hoplite made of Parian marble in 480–470 BC: 263  and unearthed in 1925. The excavation team named it "Leonidas", deducing that it depicts the Spartan king Leonidas I.: 266  It was found southwest of peribolos of the Athena Chalkioikos on the Acropolis of Sparta.: 240  The sculpture is housed in the Archaeological Museum of Sparta, which acquired it from the British School at Athens in 1926. The sculpture features a Corinthian helmet with ram-shaped cheek pieces. While most of the plume is a restoration, fragments of a leg, foot, shield and helmet were also found nearby.The sculpture was part of a group, probably affixed to the sanctuary pediment. According to several scholars, it formed part of the memorial on the Spartan acropolis to honor Leonidas on his reburial. Paul Cartledge, however, argued it would have represented a mythical hero or a god rather than the historical person of Leonidas.: PT198  One estimation dates the sculpture before rather than after 480 BC, the year of the Battle of Thermopylae where Leonidas died.

Category:5th-century BC Greek sculptures


Leonidas (sculpture)

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

Leonidas is a sculpture of a hoplite made of Parian marble in 480–470 BC: 263  and unearthed in 1925. The excavation team named it "Leonidas", deducing that it depicts the Spartan king Leonidas I.: 266  It was found southwest of peribolos of the Athena Chalkioikos on the Acropolis of Sparta.: 240  The sculpture is housed in the Archaeological Museum of Sparta, which acquired it from the British School at Athens in 1926. The sculpture features a Corinthian helmet with ram-shaped cheek pieces. While most of the plume is a restoration, fragments of a leg, foot, shield and helmet were also found nearby.The sculpture was part of a group, probably affixed to the sanctuary pediment. According to several scholars, it formed part of the memorial on the Spartan acropolis to honor Leonidas on his reburial. Paul Cartledge, however, argued it would have represented a mythical hero or a god rather than the historical person of Leonidas.: PT198  One estimation dates the sculpture before rather than after 480 BC, the year of the Battle of Thermopylae where Leonidas died.

Category:5th-century BC Greek sculptures


Leonidas (sculpture)

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

Leonidas is a sculpture of a hoplite made of Parian marble in 480–470 BC: 263  and unearthed in 1925. The excavation team named it "Leonidas", deducing that it depicts the Spartan king Leonidas I.: 266  It was found southwest of peribolos of the Athena Chalkioikos on the Acropolis of Sparta.: 240  The sculpture is housed in the Archaeological Museum of Sparta, which acquired it from the British School at Athens in 1926. The sculpture features a Corinthian helmet with ram-shaped cheek pieces. While most of the plume is a restoration, fragments of a leg, foot, shield and helmet were also found nearby.The sculpture was part of a group, probably affixed to the sanctuary pediment. According to several scholars, it formed part of the memorial on the Spartan acropolis to honor Leonidas on his reburial. Paul Cartledge, however, argued it would have represented a mythical hero or a god rather than the historical person of Leonidas.: PT198  One estimation dates the sculpture before rather than after 480 BC, the year of the Battle of Thermopylae where Leonidas died.

Category:5th-century BC Greek sculptures


Leonidas (sculpture)

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

Leonidas is a sculpture of a hoplite made of Parian marble in 480–470 BC: 263  and unearthed in 1925. The excavation team named it "Leonidas", deducing that it depicts the Spartan king Leonidas I.: 266  It was found southwest of peribolos of the Athena Chalkioikos on the Acropolis of Sparta.: 240  The sculpture is housed in the Archaeological Museum of Sparta, which acquired it from the British School at Athens in 1926. The sculpture features a Corinthian helmet with ram-shaped cheek pieces. While most of the plume is a restoration, fragments of a leg, foot, shield and helmet were also found nearby.The sculpture was part of a group, probably affixed to the sanctuary pediment. According to several scholars, it formed part of the memorial on the Spartan acropolis to honor Leonidas on his reburial. Paul Cartledge, however, argued it would have represented a mythical hero or a god rather than the historical person of Leonidas.: PT198  One estimation dates the sculpture before rather than after 480 BC, the year of the Battle of Thermopylae where Leonidas died.

Category:5th-century BC Greek sculptures


Leonidas (sculpture)

Prompt: In the context of Leonidas (sculpture), explain the Statue of Leonidas at Thermopylae and the Influence.

In 1955, a bronze statue of king Leonidas was erected as part of a monument in Thermopylae. Its sculptor Vasos Falireas modeled it after the 'Leonidas' torso excavated in 1925.: 253  Sponsored by a group of Greek Americans, the planned site was in the modern city of Sparta, but the project was met by objection there because the statue was naked. The monument finally settled at Thermopylae.

Category:5th-century BC Greek sculptures


Leonidas (sculpture)

Prompt: Explain the Statue of Leonidas at Thermopylae about the Influence of this artwork, Leonidas (sculpture).

In 1955, a bronze statue of king Leonidas was erected as part of a monument in Thermopylae. Its sculptor Vasos Falireas modeled it after the 'Leonidas' torso excavated in 1925.: 253  Sponsored by a group of Greek Americans, the planned site was in the modern city of Sparta, but the project was met by objection there because the statue was naked. The monument finally settled at Thermopylae.

Category:5th-century BC Greek sculptures


Leonidas (sculpture)

Prompt: In Leonidas (sculpture), how is the Statue of Leonidas at Thermopylae of the Influence explained?

In 1955, a bronze statue of king Leonidas was erected as part of a monument in Thermopylae. Its sculptor Vasos Falireas modeled it after the 'Leonidas' torso excavated in 1925.: 253  Sponsored by a group of Greek Americans, the planned site was in the modern city of Sparta, but the project was met by objection there because the statue was naked. The monument finally settled at Thermopylae.

Category:5th-century BC Greek sculptures


Leonidas (sculpture)

Prompt: Describe the characteristics of the Statue of Leonidas at Thermopylae in Leonidas (sculpture)'s Influence.

In 1955, a bronze statue of king Leonidas was erected as part of a monument in Thermopylae. Its sculptor Vasos Falireas modeled it after the 'Leonidas' torso excavated in 1925.: 253  Sponsored by a group of Greek Americans, the planned site was in the modern city of Sparta, but the project was met by objection there because the statue was naked. The monument finally settled at Thermopylae.

Category:5th-century BC Greek sculptures


Leonidas (sculpture)

Prompt: In the context of Leonidas (sculpture), explain the Statue of Leonidas at Sparta and the Influence.

In 1969, another bronze statue of king Leonidas, again made by Vasos Falireas, was erected in downtown Sparta. It was designed in 1966, the inscription dated 1968, installed in 1969 and an unveiling ceremony was held in 1970. This time it was clothed. Its design and pose differs from the monument in Thermopylae, but Paul Cartledge describes both statues as based on "the exact same model",: PT341  the excavated 'Leonidas' torso.

Category:5th-century BC Greek sculptures


Leonidas (sculpture)

Prompt: Explain the Statue of Leonidas at Sparta about the Influence of this artwork, Leonidas (sculpture).

In 1969, another bronze statue of king Leonidas, again made by Vasos Falireas, was erected in downtown Sparta. It was designed in 1966, the inscription dated 1968, installed in 1969 and an unveiling ceremony was held in 1970. This time it was clothed. Its design and pose differs from the monument in Thermopylae, but Paul Cartledge describes both statues as based on "the exact same model",: PT341  the excavated 'Leonidas' torso.

Category:5th-century BC Greek sculptures


Leonidas (sculpture)

Prompt: In Leonidas (sculpture), how is the Statue of Leonidas at Sparta of the Influence explained?

In 1969, another bronze statue of king Leonidas, again made by Vasos Falireas, was erected in downtown Sparta. It was designed in 1966, the inscription dated 1968, installed in 1969 and an unveiling ceremony was held in 1970. This time it was clothed. Its design and pose differs from the monument in Thermopylae, but Paul Cartledge describes both statues as based on "the exact same model",: PT341  the excavated 'Leonidas' torso.

Category:5th-century BC Greek sculptures


Leonidas (sculpture)

Prompt: Describe the characteristics of the Statue of Leonidas at Sparta in Leonidas (sculpture)'s Influence.

In 1969, another bronze statue of king Leonidas, again made by Vasos Falireas, was erected in downtown Sparta. It was designed in 1966, the inscription dated 1968, installed in 1969 and an unveiling ceremony was held in 1970. This time it was clothed. Its design and pose differs from the monument in Thermopylae, but Paul Cartledge describes both statues as based on "the exact same model",: PT341  the excavated 'Leonidas' torso.

Category:5th-century BC Greek sculptures


Tsuchida Bakusen

Prompt: Focus on Tsuchida Bakusen and explain the abstract.

Tsuchida Bakusen (土田麦僊, February 9, 1887 – June 10, 1936) was the art-name of a Japanese painter in the Nihonga style, active during the Taishō and early Shōwa eras. His birth name was Tsuchida Kinji (土田金二).

Category:Kyoto City University of Arts alumni


Tsuchida Bakusen

Prompt: Explain the abstract of this artwork, Tsuchida Bakusen.

Tsuchida Bakusen (土田麦僊, February 9, 1887 – June 10, 1936) was the art-name of a Japanese painter in the Nihonga style, active during the Taishō and early Shōwa eras. His birth name was Tsuchida Kinji (土田金二).

Category:Kyoto City University of Arts alumni


Tsuchida Bakusen

Prompt: How does Tsuchida Bakusen explain its abstract?

Tsuchida Bakusen (土田麦僊, February 9, 1887 – June 10, 1936) was the art-name of a Japanese painter in the Nihonga style, active during the Taishō and early Shōwa eras. His birth name was Tsuchida Kinji (土田金二).

Category:Kyoto City University of Arts alumni


Tsuchida Bakusen

Prompt: In Tsuchida Bakusen, how is the abstract discussed?

Tsuchida Bakusen (土田麦僊, February 9, 1887 – June 10, 1936) was the art-name of a Japanese painter in the Nihonga style, active during the Taishō and early Shōwa eras. His birth name was Tsuchida Kinji (土田金二).

Category:Kyoto City University of Arts alumni


Tsuchida Bakusen

Prompt: Focus on Tsuchida Bakusen and explain the Biography.

He was born on Sado island in Niigata Prefecture into a wealthy and influential family. His younger brother was the noted philosopher Tsuchida Kyōson (1891-1934). As an adolescent, Bakusen's father put him on the career path of a Buddhist priest, but he fled the temple where he was apprenticed in order to study art instead. He was accepted as a student by painter Takeuchi Seihō, and later studied at the Kyoto Kaiga Senmon Gakko (present day Kyoto City University of Arts) from which he graduated in 1911.In 1918, Bakusen established a painting collective together with Murakami Kagaku, Ono Chikkyō, Sakakibara Shihō, and Nonagase Banka called the Kokuga Society (Kokuga Sōsaku Kyōkai, or "Society for the Creation of National Painting"), which was used as a vehicle to disseminate the group's eclectic style combining western yōga and Japanese (Nihonga) painting techniques and styles. His favorite subjects were women (bijinga), especially portraits of maiko, but he also painted flowers and still life themes. The Kokuga Society established its own annual exhibition, the Kokuten (abbreviation for "Kokuga Sōsaku Kyōkai Tenrankai") in competition with the increasingly restrictive Bunten Exhibitions in 1918. Seven Kokuten exhibitions were held between 1918 and 1928.In 1921, the Kokuga Society went on hiatus when Bakusen traveled to Europe with Ono Chikkyō to tour Western art museums. They returned after a little more than a year, and resumed the Kokuga Society in 1923. Bakusen was particularly fond of French Impressionism and Post-Impressionism, especially the works of Paul Gauguin, Vincent van Gogh and Paul Cézanne, and collected several of their works while in Europe. The Kokuga Society broke up in 1928, due to financial difficulties and internal disagreements. In 1934, Bakusen was appointed to the Teikoku Bijutsuin (Imperial Art Academy). He died in June 1936 of pancreatic cancer. His grave is at the temple of Chishaku-in in Kyoto.One of his works from 1918, Bathhouse Maiden (湯女図, Yunazu), now at the Tokyo National Museum of Modern Art is registered as an Important Cultural Property (ICP) by the Agency for Cultural Affairs. However, his painting Maiko in Garden (舞妓林泉, Bugi rinsen) from 1923, owned by the same museum, is considered his masterpiece.

Category:Kyoto City University of Arts alumni


Tsuchida Bakusen

Prompt: Explain the Biography of this artwork, Tsuchida Bakusen.

He was born on Sado island in Niigata Prefecture into a wealthy and influential family. His younger brother was the noted philosopher Tsuchida Kyōson (1891-1934). As an adolescent, Bakusen's father put him on the career path of a Buddhist priest, but he fled the temple where he was apprenticed in order to study art instead. He was accepted as a student by painter Takeuchi Seihō, and later studied at the Kyoto Kaiga Senmon Gakko (present day Kyoto City University of Arts) from which he graduated in 1911.In 1918, Bakusen established a painting collective together with Murakami Kagaku, Ono Chikkyō, Sakakibara Shihō, and Nonagase Banka called the Kokuga Society (Kokuga Sōsaku Kyōkai, or "Society for the Creation of National Painting"), which was used as a vehicle to disseminate the group's eclectic style combining western yōga and Japanese (Nihonga) painting techniques and styles. His favorite subjects were women (bijinga), especially portraits of maiko, but he also painted flowers and still life themes. The Kokuga Society established its own annual exhibition, the Kokuten (abbreviation for "Kokuga Sōsaku Kyōkai Tenrankai") in competition with the increasingly restrictive Bunten Exhibitions in 1918. Seven Kokuten exhibitions were held between 1918 and 1928.In 1921, the Kokuga Society went on hiatus when Bakusen traveled to Europe with Ono Chikkyō to tour Western art museums. They returned after a little more than a year, and resumed the Kokuga Society in 1923. Bakusen was particularly fond of French Impressionism and Post-Impressionism, especially the works of Paul Gauguin, Vincent van Gogh and Paul Cézanne, and collected several of their works while in Europe. The Kokuga Society broke up in 1928, due to financial difficulties and internal disagreements. In 1934, Bakusen was appointed to the Teikoku Bijutsuin (Imperial Art Academy). He died in June 1936 of pancreatic cancer. His grave is at the temple of Chishaku-in in Kyoto.One of his works from 1918, Bathhouse Maiden (湯女図, Yunazu), now at the Tokyo National Museum of Modern Art is registered as an Important Cultural Property (ICP) by the Agency for Cultural Affairs. However, his painting Maiko in Garden (舞妓林泉, Bugi rinsen) from 1923, owned by the same museum, is considered his masterpiece.

Category:Kyoto City University of Arts alumni


Tsuchida Bakusen

Prompt: How does Tsuchida Bakusen explain its Biography?

He was born on Sado island in Niigata Prefecture into a wealthy and influential family. His younger brother was the noted philosopher Tsuchida Kyōson (1891-1934). As an adolescent, Bakusen's father put him on the career path of a Buddhist priest, but he fled the temple where he was apprenticed in order to study art instead. He was accepted as a student by painter Takeuchi Seihō, and later studied at the Kyoto Kaiga Senmon Gakko (present day Kyoto City University of Arts) from which he graduated in 1911.In 1918, Bakusen established a painting collective together with Murakami Kagaku, Ono Chikkyō, Sakakibara Shihō, and Nonagase Banka called the Kokuga Society (Kokuga Sōsaku Kyōkai, or "Society for the Creation of National Painting"), which was used as a vehicle to disseminate the group's eclectic style combining western yōga and Japanese (Nihonga) painting techniques and styles. His favorite subjects were women (bijinga), especially portraits of maiko, but he also painted flowers and still life themes. The Kokuga Society established its own annual exhibition, the Kokuten (abbreviation for "Kokuga Sōsaku Kyōkai Tenrankai") in competition with the increasingly restrictive Bunten Exhibitions in 1918. Seven Kokuten exhibitions were held between 1918 and 1928.In 1921, the Kokuga Society went on hiatus when Bakusen traveled to Europe with Ono Chikkyō to tour Western art museums. They returned after a little more than a year, and resumed the Kokuga Society in 1923. Bakusen was particularly fond of French Impressionism and Post-Impressionism, especially the works of Paul Gauguin, Vincent van Gogh and Paul Cézanne, and collected several of their works while in Europe. The Kokuga Society broke up in 1928, due to financial difficulties and internal disagreements. In 1934, Bakusen was appointed to the Teikoku Bijutsuin (Imperial Art Academy). He died in June 1936 of pancreatic cancer. His grave is at the temple of Chishaku-in in Kyoto.One of his works from 1918, Bathhouse Maiden (湯女図, Yunazu), now at the Tokyo National Museum of Modern Art is registered as an Important Cultural Property (ICP) by the Agency for Cultural Affairs. However, his painting Maiko in Garden (舞妓林泉, Bugi rinsen) from 1923, owned by the same museum, is considered his masterpiece.

Category:Kyoto City University of Arts alumni


Tsuchida Bakusen

Prompt: In Tsuchida Bakusen, how is the Biography discussed?

He was born on Sado island in Niigata Prefecture into a wealthy and influential family. His younger brother was the noted philosopher Tsuchida Kyōson (1891-1934). As an adolescent, Bakusen's father put him on the career path of a Buddhist priest, but he fled the temple where he was apprenticed in order to study art instead. He was accepted as a student by painter Takeuchi Seihō, and later studied at the Kyoto Kaiga Senmon Gakko (present day Kyoto City University of Arts) from which he graduated in 1911.In 1918, Bakusen established a painting collective together with Murakami Kagaku, Ono Chikkyō, Sakakibara Shihō, and Nonagase Banka called the Kokuga Society (Kokuga Sōsaku Kyōkai, or "Society for the Creation of National Painting"), which was used as a vehicle to disseminate the group's eclectic style combining western yōga and Japanese (Nihonga) painting techniques and styles. His favorite subjects were women (bijinga), especially portraits of maiko, but he also painted flowers and still life themes. The Kokuga Society established its own annual exhibition, the Kokuten (abbreviation for "Kokuga Sōsaku Kyōkai Tenrankai") in competition with the increasingly restrictive Bunten Exhibitions in 1918. Seven Kokuten exhibitions were held between 1918 and 1928.In 1921, the Kokuga Society went on hiatus when Bakusen traveled to Europe with Ono Chikkyō to tour Western art museums. They returned after a little more than a year, and resumed the Kokuga Society in 1923. Bakusen was particularly fond of French Impressionism and Post-Impressionism, especially the works of Paul Gauguin, Vincent van Gogh and Paul Cézanne, and collected several of their works while in Europe. The Kokuga Society broke up in 1928, due to financial difficulties and internal disagreements. In 1934, Bakusen was appointed to the Teikoku Bijutsuin (Imperial Art Academy). He died in June 1936 of pancreatic cancer. His grave is at the temple of Chishaku-in in Kyoto.One of his works from 1918, Bathhouse Maiden (湯女図, Yunazu), now at the Tokyo National Museum of Modern Art is registered as an Important Cultural Property (ICP) by the Agency for Cultural Affairs. However, his painting Maiko in Garden (舞妓林泉, Bugi rinsen) from 1923, owned by the same museum, is considered his masterpiece.

Category:Kyoto City University of Arts alumni


Tsuchida Bakusen

Prompt: Focus on Tsuchida Bakusen and explain the Philately.

One of Bakusen's works was selected as the subject of a commemorative postage stamp by the Japanese government:1979: Bugirinsen, commemorating the 1968 Philatelic Week

Category:Kyoto City University of Arts alumni


Tsuchida Bakusen

Prompt: Explain the Philately of this artwork, Tsuchida Bakusen.

One of Bakusen's works was selected as the subject of a commemorative postage stamp by the Japanese government:1979: Bugirinsen, commemorating the 1968 Philatelic Week

Category:Kyoto City University of Arts alumni


Tsuchida Bakusen

Prompt: How does Tsuchida Bakusen explain its Philately?

One of Bakusen's works was selected as the subject of a commemorative postage stamp by the Japanese government:1979: Bugirinsen, commemorating the 1968 Philatelic Week

Category:Kyoto City University of Arts alumni


Tsuchida Bakusen

Prompt: In Tsuchida Bakusen, how is the Philately discussed?

One of Bakusen's works was selected as the subject of a commemorative postage stamp by the Japanese government:1979: Bugirinsen, commemorating the 1968 Philatelic Week

Category:Kyoto City University of Arts alumni


Tsuchida Bakusen

Prompt: Focus on Tsuchida Bakusen and explain the Noted works.

Island Woman (島の女, Shima no onna), 1912, Tokyo National Museum of Modern Art [1]Bathhouse Maiden (湯女図, Yunazu), 1918, Tokyo National Museum of Modern Art [2]Maiko in Garden (舞妓林泉, Bugirinsen), 1924, Tokyo National Museum of Modern Art [3]Woman Peddlar of Ohara (大原女, Oharame), 1927, Kyoto National Museum of Modern Art [4]

Category:Kyoto City University of Arts alumni


Tsuchida Bakusen

Prompt: Explain the Noted works of this artwork, Tsuchida Bakusen.

Island Woman (島の女, Shima no onna), 1912, Tokyo National Museum of Modern Art [1]Bathhouse Maiden (湯女図, Yunazu), 1918, Tokyo National Museum of Modern Art [2]Maiko in Garden (舞妓林泉, Bugirinsen), 1924, Tokyo National Museum of Modern Art [3]Woman Peddlar of Ohara (大原女, Oharame), 1927, Kyoto National Museum of Modern Art [4]

Category:Kyoto City University of Arts alumni


Tsuchida Bakusen

Prompt: How does Tsuchida Bakusen explain its Noted works?

Island Woman (島の女, Shima no onna), 1912, Tokyo National Museum of Modern Art [1]Bathhouse Maiden (湯女図, Yunazu), 1918, Tokyo National Museum of Modern Art [2]Maiko in Garden (舞妓林泉, Bugirinsen), 1924, Tokyo National Museum of Modern Art [3]Woman Peddlar of Ohara (大原女, Oharame), 1927, Kyoto National Museum of Modern Art [4]

Category:Kyoto City University of Arts alumni


Tsuchida Bakusen

Prompt: In Tsuchida Bakusen, how is the Noted works discussed?

Island Woman (島の女, Shima no onna), 1912, Tokyo National Museum of Modern Art [1]Bathhouse Maiden (湯女図, Yunazu), 1918, Tokyo National Museum of Modern Art [2]Maiko in Garden (舞妓林泉, Bugirinsen), 1924, Tokyo National Museum of Modern Art [3]Woman Peddlar of Ohara (大原女, Oharame), 1927, Kyoto National Museum of Modern Art [4]

Category:Kyoto City University of Arts alumni


Self-Portrait at the Age of 63

Prompt: Focus on Self-Portrait at the Age of 63 and explain the abstract.

Self-Portrait at the Age of 63 is a self-portrait by the Dutch artist Rembrandt.  One of three dating to 1669, it was one of the last in his series of around 80 self-portraits, painted in the months before his death in October 1669.  Despite the closeness of his death, and the concentration on his aging face, Rembrandt makes an impression of a self-assured and confident artist.  It was bought by the National Gallery, London in 1851.The work measures 86 cm × 70.5 cm (33.9 in × 27.8 in).  Rembrandt depicts himself in deep red coat with fur collar and beret, looking out at the viewer with his hands clasped.  A damaged signature and date were revealed when the painting was cleaned in 1967, and it is believed that the work has been cut down on all four sides.  X-ray analysis has shown two pentimenti (changes to the composition by the artist): the beret was originally larger and white in colour, and the hands originally had a different position, holding a paintbrush and maulstick.  His sagging blemished face is carefully rendered with many layers of translucent paint, but his robe and the background remains shadowy and the hands are indistinct.The painting was investigated by the scientists of the National Gallery in London. Rembrandt employed his usual rather limited palette of lead white, ochres and red lakes.It was in the collection of William van Huls until sold at auction in London in 1722, and bought for £80 by Thomas Brodrick.  It was inherited by his nephew Alan Brodrick, 2nd Viscount Midleton, and remained at Peper Harow until auctioned by George Brodrick, 5th Viscount Midleton, in 1851, when it was bought for £430 10s  by the National Gallery.

Category:Paintings in the National Gallery, London


Self-Portrait at the Age of 63

Prompt: Explain the abstract of this artwork, Self-Portrait at the Age of 63.

Self-Portrait at the Age of 63 is a self-portrait by the Dutch artist Rembrandt.  One of three dating to 1669, it was one of the last in his series of around 80 self-portraits, painted in the months before his death in October 1669.  Despite the closeness of his death, and the concentration on his aging face, Rembrandt makes an impression of a self-assured and confident artist.  It was bought by the National Gallery, London in 1851.The work measures 86 cm × 70.5 cm (33.9 in × 27.8 in).  Rembrandt depicts himself in deep red coat with fur collar and beret, looking out at the viewer with his hands clasped.  A damaged signature and date were revealed when the painting was cleaned in 1967, and it is believed that the work has been cut down on all four sides.  X-ray analysis has shown two pentimenti (changes to the composition by the artist): the beret was originally larger and white in colour, and the hands originally had a different position, holding a paintbrush and maulstick.  His sagging blemished face is carefully rendered with many layers of translucent paint, but his robe and the background remains shadowy and the hands are indistinct.The painting was investigated by the scientists of the National Gallery in London. Rembrandt employed his usual rather limited palette of lead white, ochres and red lakes.It was in the collection of William van Huls until sold at auction in London in 1722, and bought for £80 by Thomas Brodrick.  It was inherited by his nephew Alan Brodrick, 2nd Viscount Midleton, and remained at Peper Harow until auctioned by George Brodrick, 5th Viscount Midleton, in 1851, when it was bought for £430 10s  by the National Gallery.

Category:Paintings in the National Gallery, London


Self-Portrait at the Age of 63

Prompt: How does Self-Portrait at the Age of 63 explain its abstract?

Self-Portrait at the Age of 63 is a self-portrait by the Dutch artist Rembrandt.  One of three dating to 1669, it was one of the last in his series of around 80 self-portraits, painted in the months before his death in October 1669.  Despite the closeness of his death, and the concentration on his aging face, Rembrandt makes an impression of a self-assured and confident artist.  It was bought by the National Gallery, London in 1851.The work measures 86 cm × 70.5 cm (33.9 in × 27.8 in).  Rembrandt depicts himself in deep red coat with fur collar and beret, looking out at the viewer with his hands clasped.  A damaged signature and date were revealed when the painting was cleaned in 1967, and it is believed that the work has been cut down on all four sides.  X-ray analysis has shown two pentimenti (changes to the composition by the artist): the beret was originally larger and white in colour, and the hands originally had a different position, holding a paintbrush and maulstick.  His sagging blemished face is carefully rendered with many layers of translucent paint, but his robe and the background remains shadowy and the hands are indistinct.The painting was investigated by the scientists of the National Gallery in London. Rembrandt employed his usual rather limited palette of lead white, ochres and red lakes.It was in the collection of William van Huls until sold at auction in London in 1722, and bought for £80 by Thomas Brodrick.  It was inherited by his nephew Alan Brodrick, 2nd Viscount Midleton, and remained at Peper Harow until auctioned by George Brodrick, 5th Viscount Midleton, in 1851, when it was bought for £430 10s  by the National Gallery.

Category:Paintings in the National Gallery, London


Self-Portrait at the Age of 63

Prompt: In Self-Portrait at the Age of 63, how is the abstract discussed?

Self-Portrait at the Age of 63 is a self-portrait by the Dutch artist Rembrandt.  One of three dating to 1669, it was one of the last in his series of around 80 self-portraits, painted in the months before his death in October 1669.  Despite the closeness of his death, and the concentration on his aging face, Rembrandt makes an impression of a self-assured and confident artist.  It was bought by the National Gallery, London in 1851.The work measures 86 cm × 70.5 cm (33.9 in × 27.8 in).  Rembrandt depicts himself in deep red coat with fur collar and beret, looking out at the viewer with his hands clasped.  A damaged signature and date were revealed when the painting was cleaned in 1967, and it is believed that the work has been cut down on all four sides.  X-ray analysis has shown two pentimenti (changes to the composition by the artist): the beret was originally larger and white in colour, and the hands originally had a different position, holding a paintbrush and maulstick.  His sagging blemished face is carefully rendered with many layers of translucent paint, but his robe and the background remains shadowy and the hands are indistinct.The painting was investigated by the scientists of the National Gallery in London. Rembrandt employed his usual rather limited palette of lead white, ochres and red lakes.It was in the collection of William van Huls until sold at auction in London in 1722, and bought for £80 by Thomas Brodrick.  It was inherited by his nephew Alan Brodrick, 2nd Viscount Midleton, and remained at Peper Harow until auctioned by George Brodrick, 5th Viscount Midleton, in 1851, when it was bought for £430 10s  by the National Gallery.

Category:Paintings in the National Gallery, London


The Dancing Couple

Prompt: Focus on The Dancing Couple and explain the abstract.

The Dancing Couple is an oil-on-canvas painting that was created by Jan Steen in 1663. It depicts a boisterous party with a dancing couple in the center. This painting is part of the Widener Collection, which currently resides in the National Gallery of Art in Washington, D.C. The setting of the painting is a kermis, which is a local village fair that several Dutch artworks referenced. Kermises were extremely popular in the Bruegel tradition. The Dancing Couple was one of the few paintings which started a new era in Dutch art. Paintings like these depicts a setting which was inspired by the rural working class of the Dutch people. This was a significant change for Dutch art as these settings highlighted a thriving period in their history. A new perspective was shown which changed the way traditional Dutch art was looked at as they focused more on the realistic rural working lifestyle and values of the Dutch people.

Category:Paintings in the National Gallery of Art


The Dancing Couple

Prompt: Explain the abstract of this artwork, The Dancing Couple.

The Dancing Couple is an oil-on-canvas painting that was created by Jan Steen in 1663. It depicts a boisterous party with a dancing couple in the center. This painting is part of the Widener Collection, which currently resides in the National Gallery of Art in Washington, D.C. The setting of the painting is a kermis, which is a local village fair that several Dutch artworks referenced. Kermises were extremely popular in the Bruegel tradition. The Dancing Couple was one of the few paintings which started a new era in Dutch art. Paintings like these depicts a setting which was inspired by the rural working class of the Dutch people. This was a significant change for Dutch art as these settings highlighted a thriving period in their history. A new perspective was shown which changed the way traditional Dutch art was looked at as they focused more on the realistic rural working lifestyle and values of the Dutch people.

Category:Paintings in the National Gallery of Art


The Dancing Couple

Prompt: How does The Dancing Couple explain its abstract?

The Dancing Couple is an oil-on-canvas painting that was created by Jan Steen in 1663. It depicts a boisterous party with a dancing couple in the center. This painting is part of the Widener Collection, which currently resides in the National Gallery of Art in Washington, D.C. The setting of the painting is a kermis, which is a local village fair that several Dutch artworks referenced. Kermises were extremely popular in the Bruegel tradition. The Dancing Couple was one of the few paintings which started a new era in Dutch art. Paintings like these depicts a setting which was inspired by the rural working class of the Dutch people. This was a significant change for Dutch art as these settings highlighted a thriving period in their history. A new perspective was shown which changed the way traditional Dutch art was looked at as they focused more on the realistic rural working lifestyle and values of the Dutch people.

Category:Paintings in the National Gallery of Art


The Dancing Couple

Prompt: In The Dancing Couple, how is the abstract discussed?

The Dancing Couple is an oil-on-canvas painting that was created by Jan Steen in 1663. It depicts a boisterous party with a dancing couple in the center. This painting is part of the Widener Collection, which currently resides in the National Gallery of Art in Washington, D.C. The setting of the painting is a kermis, which is a local village fair that several Dutch artworks referenced. Kermises were extremely popular in the Bruegel tradition. The Dancing Couple was one of the few paintings which started a new era in Dutch art. Paintings like these depicts a setting which was inspired by the rural working class of the Dutch people. This was a significant change for Dutch art as these settings highlighted a thriving period in their history. A new perspective was shown which changed the way traditional Dutch art was looked at as they focused more on the realistic rural working lifestyle and values of the Dutch people.

Category:Paintings in the National Gallery of Art


The Dancing Couple

Prompt: Focus on The Dancing Couple and explain the Description.

Jan Steen depicts a scene that highlights a wide variety of moods and activities, which altogether create an energetic environment. There are more than a dozen subjects in this horizontal painting, all of whom are enjoying themselves. Most of them are dressed in shades of grey, green, and black. Grayish green and yellow floral vines take up the upper portion of this painting, giving it visual depth. In the background stand two men and a woman on the other side of the fence. Their conversation is unknown as they stay huddled together in secrecy. A woman in a greenish-yellow top and grey skirt sits at the very front of the painting, while her child in a bright orange dress stands and gazes at the entertainment with amusement in her eyes. Behind them sits a woman who drinks her wine, meanwhile a man touches her chin while smiling. She wears a black dress with white ruffles, and he wears a brown shirt with a white drape around his neck. Behind the people eating at the table are two couples talking and laughing together and three men who stand and watch the couple in the middle of the room dancing. The woman wears a salmon pink dress and the man next to her wears shades of brown and black. The man next to him sits beside his wife and son while drinking wine and watching the woman in pink lustfully.

Category:Paintings in the National Gallery of Art


The Dancing Couple

Prompt: Explain the Description of this artwork, The Dancing Couple.

Jan Steen depicts a scene that highlights a wide variety of moods and activities, which altogether create an energetic environment. There are more than a dozen subjects in this horizontal painting, all of whom are enjoying themselves. Most of them are dressed in shades of grey, green, and black. Grayish green and yellow floral vines take up the upper portion of this painting, giving it visual depth. In the background stand two men and a woman on the other side of the fence. Their conversation is unknown as they stay huddled together in secrecy. A woman in a greenish-yellow top and grey skirt sits at the very front of the painting, while her child in a bright orange dress stands and gazes at the entertainment with amusement in her eyes. Behind them sits a woman who drinks her wine, meanwhile a man touches her chin while smiling. She wears a black dress with white ruffles, and he wears a brown shirt with a white drape around his neck. Behind the people eating at the table are two couples talking and laughing together and three men who stand and watch the couple in the middle of the room dancing. The woman wears a salmon pink dress and the man next to her wears shades of brown and black. The man next to him sits beside his wife and son while drinking wine and watching the woman in pink lustfully.

Category:Paintings in the National Gallery of Art