Waves at Matsushima

Prompt: In Waves at Matsushima, how is the Composition discussed?

Waves at Matsushima, also known as Pine Islands, is a pair of paintings on two six-fold screens, in the medium of ink, color, gold, and silver on paper. Each are 12 feet in width. The paintings have been associated with the coastline of Matsushima, though the paintings were named after their creation, and likely represent no specific location.The pair was painted in the 1620s, specifically in the Kan'ei era (1624-1644). They are the only surviving work of the six pairs done by Sōtatsu. Paintings of this type were usually used as a backdrop on special occasions, such as a celebration of the changing seasons, or the visit of a dignitary. Matsushima was likely commissioned in the late 1620s by wealthy sea captain and merchant Tani Shōan, to celebrate the opening of the Shōunji zen temple at the port of Sakai. The pair was recorded as being at the temple. Shōan was retiring with the temple's opening. This type of painting was usually made members of a "painterly" class, higher than Sōtatsu's craftsmen class. However, an exception was made for Sōtatsu in a time of "unusual social fluidity", through his talent alone.In the scenes, a sea with waves surrounds rocks growing with pine trees. The rocks are colored green, blue, brown, and are highlighted with gold. The waves consist of alternating lines of white and gold. The clouds and embankments are made of gold leaf particles, accented with a silver pigment which has turned to a soft black over time. The paintings contain intentional remnants of their creation, such as "dark outlines, intentional layered bleeding of pigments, and the clear remainders of pigment granules". Sōtatsu's signature includes the phrase Hokkyo (Bridge of the Law), a Buddhist ecclesiastical title. Sōtatsu uses a large amount of gold leaves for color, which Rinpa scholar Yamane Yūzō argues is for a sense of "well-being and abundance". The work uses tarashikomi.

Detroit
Matsushima, Miyagi
Henri Matisse
granules
Smithsonian Institution
Edo
Wall Street Journal
Folding screen
courtier
paper fans
six-fold screens
Tawaraya Sōtatsu
Sakai Hōitsu
Suzuki Kiitsu
Category:Folding screens
Woodblock printing
Arthur M. Sackler Gallery
Category:Landscape paintings
Freer Gallery of Art
Granular material
Gustav Klimt
zen temple
Shogun
Rinpa school
Tokyo
Hand fan
Category:1620s paintings
Ogata Kōrin
Category:Byōbu
bakufu
woodblock print
Smithsonian
Matsushima
Category:Rinpa school
Washington, D.C.
tarashikomi
Kan'ei
Sackler Gallery
Kan'ei era
Charles Lang Freer
Kyoto
Sakai


Waves at Matsushima

Prompt: Focus on Waves at Matsushima and explain the Legacy.

The pair is seen as Sōtatsu's masterwork. His work had gone mostly unnoticed after his death in the 1640s, but his work still impacted "generations of famous artists". The pair inspired works by Ogata Kōrin and Suzuki Kiitsu, which were also named Waves at Matsushima.  Kōrin's work was heavily inspired by Sōtatsu, and he painted a six-fold screen in the early 18th century which was based on Sōtatsu's Matsushima. Compared to Sōtatsu's painting, Kōrin's has more "assertive" waves and sharper color contrasts. After Kōrin's work, Sōtatsu's original became an icon of the Rinpa canon. Kōrin's work was lost, but a copy on woodblock print was made by Sakai Hōitsu in 1826, in his second collection of works titled One Hundred Paintings by Kōrin. Suzuki Kiitsu studied the Rinpa masters, and circa 1832 to 1836, he made two sliding doors that resemble the other two's screens.In the late 1800s, a group of Western collectors, including Charles Lang Freer, started collecting Sōtatsu's work. The name Waves at Matsushima was given to the screens in the early 20th century. Freer bought the work, which was labeled as Rolling Waves and Rocks, in 1906 for $5,000. He initially displayed it in his Detroit home. It was further popularized after featuring in an exhibit at an unnamed gallery in 1913, which influenced Henri Matisse and Gustav Klimt, and at the Tokyo Museum in 1947, when Sōtatsu's work was exhibited alongside Mattise's. At the latter show, viewers were surprised to see Mattise and Sōtatsu's similarities. Currently, they are located in the Smithsonian's Freer Gallery of Art in Washington, D.C., where they have been since 1919, and they are seen as one of the gallery's masterpieces. They were in an exhibit at the Smithsonian's Sackler Gallery in 2011, and in “Sōtatsu: Making Waves”, at the Freer Gallery from 2015 to 2016. Artworks inspired by and named after Sōtatsu's Waves at Matsushima

Detroit
Matsushima, Miyagi
Henri Matisse
granules
Smithsonian Institution
Edo
Wall Street Journal
Folding screen
courtier
paper fans
six-fold screens
Tawaraya Sōtatsu
Sakai Hōitsu
Suzuki Kiitsu
Category:Folding screens
Woodblock printing
Arthur M. Sackler Gallery
Category:Landscape paintings
Freer Gallery of Art
Granular material
Gustav Klimt
zen temple
Shogun
Rinpa school
Tokyo
Hand fan
Category:1620s paintings
Ogata Kōrin
Category:Byōbu
bakufu
woodblock print
Smithsonian
Matsushima
Category:Rinpa school
Washington, D.C.
tarashikomi
Kan'ei
Sackler Gallery
Kan'ei era
Charles Lang Freer
Kyoto
Sakai


Waves at Matsushima

Prompt: Explain the Legacy of this artwork, Waves at Matsushima.

The pair is seen as Sōtatsu's masterwork. His work had gone mostly unnoticed after his death in the 1640s, but his work still impacted "generations of famous artists". The pair inspired works by Ogata Kōrin and Suzuki Kiitsu, which were also named Waves at Matsushima.  Kōrin's work was heavily inspired by Sōtatsu, and he painted a six-fold screen in the early 18th century which was based on Sōtatsu's Matsushima. Compared to Sōtatsu's painting, Kōrin's has more "assertive" waves and sharper color contrasts. After Kōrin's work, Sōtatsu's original became an icon of the Rinpa canon. Kōrin's work was lost, but a copy on woodblock print was made by Sakai Hōitsu in 1826, in his second collection of works titled One Hundred Paintings by Kōrin. Suzuki Kiitsu studied the Rinpa masters, and circa 1832 to 1836, he made two sliding doors that resemble the other two's screens.In the late 1800s, a group of Western collectors, including Charles Lang Freer, started collecting Sōtatsu's work. The name Waves at Matsushima was given to the screens in the early 20th century. Freer bought the work, which was labeled as Rolling Waves and Rocks, in 1906 for $5,000. He initially displayed it in his Detroit home. It was further popularized after featuring in an exhibit at an unnamed gallery in 1913, which influenced Henri Matisse and Gustav Klimt, and at the Tokyo Museum in 1947, when Sōtatsu's work was exhibited alongside Mattise's. At the latter show, viewers were surprised to see Mattise and Sōtatsu's similarities. Currently, they are located in the Smithsonian's Freer Gallery of Art in Washington, D.C., where they have been since 1919, and they are seen as one of the gallery's masterpieces. They were in an exhibit at the Smithsonian's Sackler Gallery in 2011, and in “Sōtatsu: Making Waves”, at the Freer Gallery from 2015 to 2016. Artworks inspired by and named after Sōtatsu's Waves at Matsushima

Detroit
Matsushima, Miyagi
Henri Matisse
granules
Smithsonian Institution
Edo
Wall Street Journal
Folding screen
courtier
paper fans
six-fold screens
Tawaraya Sōtatsu
Sakai Hōitsu
Suzuki Kiitsu
Category:Folding screens
Woodblock printing
Arthur M. Sackler Gallery
Category:Landscape paintings
Freer Gallery of Art
Granular material
Gustav Klimt
zen temple
Shogun
Rinpa school
Tokyo
Hand fan
Category:1620s paintings
Ogata Kōrin
Category:Byōbu
bakufu
woodblock print
Smithsonian
Matsushima
Category:Rinpa school
Washington, D.C.
tarashikomi
Kan'ei
Sackler Gallery
Kan'ei era
Charles Lang Freer
Kyoto
Sakai


Waves at Matsushima

Prompt: How does Waves at Matsushima explain its Legacy?

The pair is seen as Sōtatsu's masterwork. His work had gone mostly unnoticed after his death in the 1640s, but his work still impacted "generations of famous artists". The pair inspired works by Ogata Kōrin and Suzuki Kiitsu, which were also named Waves at Matsushima.  Kōrin's work was heavily inspired by Sōtatsu, and he painted a six-fold screen in the early 18th century which was based on Sōtatsu's Matsushima. Compared to Sōtatsu's painting, Kōrin's has more "assertive" waves and sharper color contrasts. After Kōrin's work, Sōtatsu's original became an icon of the Rinpa canon. Kōrin's work was lost, but a copy on woodblock print was made by Sakai Hōitsu in 1826, in his second collection of works titled One Hundred Paintings by Kōrin. Suzuki Kiitsu studied the Rinpa masters, and circa 1832 to 1836, he made two sliding doors that resemble the other two's screens.In the late 1800s, a group of Western collectors, including Charles Lang Freer, started collecting Sōtatsu's work. The name Waves at Matsushima was given to the screens in the early 20th century. Freer bought the work, which was labeled as Rolling Waves and Rocks, in 1906 for $5,000. He initially displayed it in his Detroit home. It was further popularized after featuring in an exhibit at an unnamed gallery in 1913, which influenced Henri Matisse and Gustav Klimt, and at the Tokyo Museum in 1947, when Sōtatsu's work was exhibited alongside Mattise's. At the latter show, viewers were surprised to see Mattise and Sōtatsu's similarities. Currently, they are located in the Smithsonian's Freer Gallery of Art in Washington, D.C., where they have been since 1919, and they are seen as one of the gallery's masterpieces. They were in an exhibit at the Smithsonian's Sackler Gallery in 2011, and in “Sōtatsu: Making Waves”, at the Freer Gallery from 2015 to 2016. Artworks inspired by and named after Sōtatsu's Waves at Matsushima

Detroit
Matsushima, Miyagi
Henri Matisse
granules
Smithsonian Institution
Edo
Wall Street Journal
Folding screen
courtier
paper fans
six-fold screens
Tawaraya Sōtatsu
Sakai Hōitsu
Suzuki Kiitsu
Category:Folding screens
Woodblock printing
Arthur M. Sackler Gallery
Category:Landscape paintings
Freer Gallery of Art
Granular material
Gustav Klimt
zen temple
Shogun
Rinpa school
Tokyo
Hand fan
Category:1620s paintings
Ogata Kōrin
Category:Byōbu
bakufu
woodblock print
Smithsonian
Matsushima
Category:Rinpa school
Washington, D.C.
tarashikomi
Kan'ei
Sackler Gallery
Kan'ei era
Charles Lang Freer
Kyoto
Sakai


Waves at Matsushima

Prompt: In Waves at Matsushima, how is the Legacy discussed?

The pair is seen as Sōtatsu's masterwork. His work had gone mostly unnoticed after his death in the 1640s, but his work still impacted "generations of famous artists". The pair inspired works by Ogata Kōrin and Suzuki Kiitsu, which were also named Waves at Matsushima.  Kōrin's work was heavily inspired by Sōtatsu, and he painted a six-fold screen in the early 18th century which was based on Sōtatsu's Matsushima. Compared to Sōtatsu's painting, Kōrin's has more "assertive" waves and sharper color contrasts. After Kōrin's work, Sōtatsu's original became an icon of the Rinpa canon. Kōrin's work was lost, but a copy on woodblock print was made by Sakai Hōitsu in 1826, in his second collection of works titled One Hundred Paintings by Kōrin. Suzuki Kiitsu studied the Rinpa masters, and circa 1832 to 1836, he made two sliding doors that resemble the other two's screens.In the late 1800s, a group of Western collectors, including Charles Lang Freer, started collecting Sōtatsu's work. The name Waves at Matsushima was given to the screens in the early 20th century. Freer bought the work, which was labeled as Rolling Waves and Rocks, in 1906 for $5,000. He initially displayed it in his Detroit home. It was further popularized after featuring in an exhibit at an unnamed gallery in 1913, which influenced Henri Matisse and Gustav Klimt, and at the Tokyo Museum in 1947, when Sōtatsu's work was exhibited alongside Mattise's. At the latter show, viewers were surprised to see Mattise and Sōtatsu's similarities. Currently, they are located in the Smithsonian's Freer Gallery of Art in Washington, D.C., where they have been since 1919, and they are seen as one of the gallery's masterpieces. They were in an exhibit at the Smithsonian's Sackler Gallery in 2011, and in “Sōtatsu: Making Waves”, at the Freer Gallery from 2015 to 2016. Artworks inspired by and named after Sōtatsu's Waves at Matsushima

Detroit
Matsushima, Miyagi
Henri Matisse
granules
Smithsonian Institution
Edo
Wall Street Journal
Folding screen
courtier
paper fans
six-fold screens
Tawaraya Sōtatsu
Sakai Hōitsu
Suzuki Kiitsu
Category:Folding screens
Woodblock printing
Arthur M. Sackler Gallery
Category:Landscape paintings
Freer Gallery of Art
Granular material
Gustav Klimt
zen temple
Shogun
Rinpa school
Tokyo
Hand fan
Category:1620s paintings
Ogata Kōrin
Category:Byōbu
bakufu
woodblock print
Smithsonian
Matsushima
Category:Rinpa school
Washington, D.C.
tarashikomi
Kan'ei
Sackler Gallery
Kan'ei era
Charles Lang Freer
Kyoto
Sakai


Statue of Alexander Hamilton (Boston)

Prompt: Focus on Statue of Alexander Hamilton (Boston) and explain the abstract.

A statue of Alexander Hamilton by William Rimmer is installed along Commonwealth Avenue, between Arlington and Berkeley Streets, in Boston, Massachusetts, United States.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Statue of Alexander Hamilton (Boston)

Prompt: Explain the abstract of this artwork, Statue of Alexander Hamilton (Boston).

A statue of Alexander Hamilton by William Rimmer is installed along Commonwealth Avenue, between Arlington and Berkeley Streets, in Boston, Massachusetts, United States.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Statue of Alexander Hamilton (Boston)

Prompt: How does Statue of Alexander Hamilton (Boston) explain its abstract?

A statue of Alexander Hamilton by William Rimmer is installed along Commonwealth Avenue, between Arlington and Berkeley Streets, in Boston, Massachusetts, United States.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Statue of Alexander Hamilton (Boston)

Prompt: In Statue of Alexander Hamilton (Boston), how is the abstract discussed?

A statue of Alexander Hamilton by William Rimmer is installed along Commonwealth Avenue, between Arlington and Berkeley Streets, in Boston, Massachusetts, United States.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Statue of Alexander Hamilton (Boston)

Prompt: Focus on Statue of Alexander Hamilton (Boston) and explain the Description.

The 1864–1865 granite statue measures approximately 10 ft. x 3 ft. 4 in. x 3 ft. 4 in., and rests on a granite base measuring 8 ft. 5 in. x 5 ft. 4 in. x 5 ft. 4 in. The base has three relief portrait busts depicting Hamilton, John Jay, and George Washington.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Statue of Alexander Hamilton (Boston)

Prompt: Explain the Description of this artwork, Statue of Alexander Hamilton (Boston).

The 1864–1865 granite statue measures approximately 10 ft. x 3 ft. 4 in. x 3 ft. 4 in., and rests on a granite base measuring 8 ft. 5 in. x 5 ft. 4 in. x 5 ft. 4 in. The base has three relief portrait busts depicting Hamilton, John Jay, and George Washington.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Statue of Alexander Hamilton (Boston)

Prompt: How does Statue of Alexander Hamilton (Boston) explain its Description?

The 1864–1865 granite statue measures approximately 10 ft. x 3 ft. 4 in. x 3 ft. 4 in., and rests on a granite base measuring 8 ft. 5 in. x 5 ft. 4 in. x 5 ft. 4 in. The base has three relief portrait busts depicting Hamilton, John Jay, and George Washington.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Statue of Alexander Hamilton (Boston)

Prompt: In Statue of Alexander Hamilton (Boston), how is the Description discussed?

The 1864–1865 granite statue measures approximately 10 ft. x 3 ft. 4 in. x 3 ft. 4 in., and rests on a granite base measuring 8 ft. 5 in. x 5 ft. 4 in. x 5 ft. 4 in. The base has three relief portrait busts depicting Hamilton, John Jay, and George Washington.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Statue of Alexander Hamilton (Boston)

Prompt: Focus on Statue of Alexander Hamilton (Boston) and explain the History.

The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Statue of Alexander Hamilton (Boston)

Prompt: Explain the History of this artwork, Statue of Alexander Hamilton (Boston).

The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Statue of Alexander Hamilton (Boston)

Prompt: How does Statue of Alexander Hamilton (Boston) explain its History?

The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Statue of Alexander Hamilton (Boston)

Prompt: In Statue of Alexander Hamilton (Boston), how is the History discussed?

The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Statue of Alexander Hamilton (Boston)

Prompt: Focus on Statue of Alexander Hamilton (Boston) and explain the Reception.

The statue was widely regarded as a failure by nineteenth-century commentators. The critic George B. Woods stated that Hamilton appeared to be "swathed like an infant or a mummy." William H. Downes wrote that it "suggested a snow image which had partly melted." Lincoln Kirstein, writing in 1961, offered a more favorable assessment, commenting that "the mass and its drapery are powerfully suggestive, anticipating Rodin's Balzac in the looming treatment of the rising form."

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Statue of Alexander Hamilton (Boston)

Prompt: Explain the Reception of this artwork, Statue of Alexander Hamilton (Boston).

The statue was widely regarded as a failure by nineteenth-century commentators. The critic George B. Woods stated that Hamilton appeared to be "swathed like an infant or a mummy." William H. Downes wrote that it "suggested a snow image which had partly melted." Lincoln Kirstein, writing in 1961, offered a more favorable assessment, commenting that "the mass and its drapery are powerfully suggestive, anticipating Rodin's Balzac in the looming treatment of the rising form."

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Statue of Alexander Hamilton (Boston)

Prompt: How does Statue of Alexander Hamilton (Boston) explain its Reception?

The statue was widely regarded as a failure by nineteenth-century commentators. The critic George B. Woods stated that Hamilton appeared to be "swathed like an infant or a mummy." William H. Downes wrote that it "suggested a snow image which had partly melted." Lincoln Kirstein, writing in 1961, offered a more favorable assessment, commenting that "the mass and its drapery are powerfully suggestive, anticipating Rodin's Balzac in the looming treatment of the rising form."

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Statue of Alexander Hamilton (Boston)

Prompt: In Statue of Alexander Hamilton (Boston), how is the Reception discussed?

The statue was widely regarded as a failure by nineteenth-century commentators. The critic George B. Woods stated that Hamilton appeared to be "swathed like an infant or a mummy." William H. Downes wrote that it "suggested a snow image which had partly melted." Lincoln Kirstein, writing in 1961, offered a more favorable assessment, commenting that "the mass and its drapery are powerfully suggestive, anticipating Rodin's Balzac in the looming treatment of the rising form."

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Sculptures of men in Massachusetts


Angel with the Crown of Thorns

Prompt: Focus on Angel with the Crown of Thorns and explain the abstract.

Angel with the Crown of Thorns is a statue by Italian artist Gian Lorenzo Bernini. Originally commissioned by Pope Clement IX for the Ponte Sant'Angelo project, the statue was replaced with a copy and the original was moved to Sant'Andrea delle Fratte in Rome, Italy. The statue was started in 1667 and completed in 1669. A terracotta modello for the sculpture is held by the musée du Louvre in Paris.The statue depicts the crown of thorns mentioned in the canonical gospels.

Category:Sculptures by Gian Lorenzo Bernini


Angel with the Crown of Thorns

Prompt: Explain the abstract of this artwork, Angel with the Crown of Thorns.

Angel with the Crown of Thorns is a statue by Italian artist Gian Lorenzo Bernini. Originally commissioned by Pope Clement IX for the Ponte Sant'Angelo project, the statue was replaced with a copy and the original was moved to Sant'Andrea delle Fratte in Rome, Italy. The statue was started in 1667 and completed in 1669. A terracotta modello for the sculpture is held by the musée du Louvre in Paris.The statue depicts the crown of thorns mentioned in the canonical gospels.

Category:Sculptures by Gian Lorenzo Bernini


Angel with the Crown of Thorns

Prompt: How does Angel with the Crown of Thorns explain its abstract?

Angel with the Crown of Thorns is a statue by Italian artist Gian Lorenzo Bernini. Originally commissioned by Pope Clement IX for the Ponte Sant'Angelo project, the statue was replaced with a copy and the original was moved to Sant'Andrea delle Fratte in Rome, Italy. The statue was started in 1667 and completed in 1669. A terracotta modello for the sculpture is held by the musée du Louvre in Paris.The statue depicts the crown of thorns mentioned in the canonical gospels.

Category:Sculptures by Gian Lorenzo Bernini


Angel with the Crown of Thorns

Prompt: In Angel with the Crown of Thorns, how is the abstract discussed?

Angel with the Crown of Thorns is a statue by Italian artist Gian Lorenzo Bernini. Originally commissioned by Pope Clement IX for the Ponte Sant'Angelo project, the statue was replaced with a copy and the original was moved to Sant'Andrea delle Fratte in Rome, Italy. The statue was started in 1667 and completed in 1669. A terracotta modello for the sculpture is held by the musée du Louvre in Paris.The statue depicts the crown of thorns mentioned in the canonical gospels.

Category:Sculptures by Gian Lorenzo Bernini


Wall Street (photograph)

Prompt: Focus on Wall Street (photograph) and explain the abstract.

Wall Street is a platinum palladium print photograph by the American photographer Paul Strand taken in 1915.  There are currently only two vintage prints of this photograph with one at the Whitney Museum of American Art (printed posthumously) and the other, along with negatives, at the Philadelphia Museum of Art. This photograph was included in Paul Strand, circa 1916, an exhibition of photographs that exemplify his push toward modernism.It depicts a scene of everyday life in Manhattan's Financial District.  Workers are seen walking past the J.P. Morgan & Co. building in New York City on the famous Wall Street, from which the photograph takes its name.  The photograph is famous for its reliance on the sharpness and contrast of the shapes and angles, created by the building and the workers, that lead to its abstraction. This photograph is considered to be one of Strand's most famous works and an example of his change from pictorialism to straight photography.  Strand moved from the posed to portraying the purity of the subjects.  It is one of several images that stand as marks of the turn to modernism in photography.

Category:Photographs in the Philadelphia Museum of Art


Wall Street (photograph)

Prompt: Explain the abstract of this artwork, Wall Street (photograph).

Wall Street is a platinum palladium print photograph by the American photographer Paul Strand taken in 1915.  There are currently only two vintage prints of this photograph with one at the Whitney Museum of American Art (printed posthumously) and the other, along with negatives, at the Philadelphia Museum of Art. This photograph was included in Paul Strand, circa 1916, an exhibition of photographs that exemplify his push toward modernism.It depicts a scene of everyday life in Manhattan's Financial District.  Workers are seen walking past the J.P. Morgan & Co. building in New York City on the famous Wall Street, from which the photograph takes its name.  The photograph is famous for its reliance on the sharpness and contrast of the shapes and angles, created by the building and the workers, that lead to its abstraction. This photograph is considered to be one of Strand's most famous works and an example of his change from pictorialism to straight photography.  Strand moved from the posed to portraying the purity of the subjects.  It is one of several images that stand as marks of the turn to modernism in photography.

Category:Photographs in the Philadelphia Museum of Art


Wall Street (photograph)

Prompt: How does Wall Street (photograph) explain its abstract?

Wall Street is a platinum palladium print photograph by the American photographer Paul Strand taken in 1915.  There are currently only two vintage prints of this photograph with one at the Whitney Museum of American Art (printed posthumously) and the other, along with negatives, at the Philadelphia Museum of Art. This photograph was included in Paul Strand, circa 1916, an exhibition of photographs that exemplify his push toward modernism.It depicts a scene of everyday life in Manhattan's Financial District.  Workers are seen walking past the J.P. Morgan & Co. building in New York City on the famous Wall Street, from which the photograph takes its name.  The photograph is famous for its reliance on the sharpness and contrast of the shapes and angles, created by the building and the workers, that lead to its abstraction. This photograph is considered to be one of Strand's most famous works and an example of his change from pictorialism to straight photography.  Strand moved from the posed to portraying the purity of the subjects.  It is one of several images that stand as marks of the turn to modernism in photography.

Category:Photographs in the Philadelphia Museum of Art


Wall Street (photograph)

Prompt: In Wall Street (photograph), how is the abstract discussed?

Wall Street is a platinum palladium print photograph by the American photographer Paul Strand taken in 1915.  There are currently only two vintage prints of this photograph with one at the Whitney Museum of American Art (printed posthumously) and the other, along with negatives, at the Philadelphia Museum of Art. This photograph was included in Paul Strand, circa 1916, an exhibition of photographs that exemplify his push toward modernism.It depicts a scene of everyday life in Manhattan's Financial District.  Workers are seen walking past the J.P. Morgan & Co. building in New York City on the famous Wall Street, from which the photograph takes its name.  The photograph is famous for its reliance on the sharpness and contrast of the shapes and angles, created by the building and the workers, that lead to its abstraction. This photograph is considered to be one of Strand's most famous works and an example of his change from pictorialism to straight photography.  Strand moved from the posed to portraying the purity of the subjects.  It is one of several images that stand as marks of the turn to modernism in photography.

Category:Photographs in the Philadelphia Museum of Art


Wall Street (photograph)

Prompt: Focus on Wall Street (photograph) and explain the Background.

In 1907, as a young teen, the artist, Paul Strand, enrolled in New York's Ethical Culture Fieldston School.  There, Strand was under the tutelage of documentary photographer Lewis Hine.  Hine introduced Strand to the modernist photographer Alfred Stieglitz.  Stieglitz was heavily influential in the art world at the time, pushing for photography to be considered an art form and opening his own gallery, the 291 Gallery, with another influential photographer Edward Steichen, to promote modernist art.  Stieglitz's colleagues were striving to receive acceptance for photography as a form of art.  Stieglitz would become a mentor and artistic comrade of Strand, with both influencing each other for the rest of their careers.With Stieglitz's influence, Strand explored the pictorialist style, creating works with soft focus, and posed scenes.  Photographs aimed to look like paintings.  Around 1915, Strand and Stieglitz sought to change their aesthetics and made the march toward straight photography.  Stieglitz pushed Strand to involve real-life subjects and less manual manipulation of the print and utilized the style that was innate to the methods and materials of photography.  Strand interpreted this request from Stieglitz and created this new style that incorporated high contrasts, clean lines, and emphasis on shape.  These elements come from how Strand captured the real life and movements of subjects, not how he posed or manipulated them.

Category:Photographs in the Philadelphia Museum of Art


Wall Street (photograph)

Prompt: Explain the Background of this artwork, Wall Street (photograph).

In 1907, as a young teen, the artist, Paul Strand, enrolled in New York's Ethical Culture Fieldston School.  There, Strand was under the tutelage of documentary photographer Lewis Hine.  Hine introduced Strand to the modernist photographer Alfred Stieglitz.  Stieglitz was heavily influential in the art world at the time, pushing for photography to be considered an art form and opening his own gallery, the 291 Gallery, with another influential photographer Edward Steichen, to promote modernist art.  Stieglitz's colleagues were striving to receive acceptance for photography as a form of art.  Stieglitz would become a mentor and artistic comrade of Strand, with both influencing each other for the rest of their careers.With Stieglitz's influence, Strand explored the pictorialist style, creating works with soft focus, and posed scenes.  Photographs aimed to look like paintings.  Around 1915, Strand and Stieglitz sought to change their aesthetics and made the march toward straight photography.  Stieglitz pushed Strand to involve real-life subjects and less manual manipulation of the print and utilized the style that was innate to the methods and materials of photography.  Strand interpreted this request from Stieglitz and created this new style that incorporated high contrasts, clean lines, and emphasis on shape.  These elements come from how Strand captured the real life and movements of subjects, not how he posed or manipulated them.

Category:Photographs in the Philadelphia Museum of Art


Wall Street (photograph)

Prompt: How does Wall Street (photograph) explain its Background?

In 1907, as a young teen, the artist, Paul Strand, enrolled in New York's Ethical Culture Fieldston School.  There, Strand was under the tutelage of documentary photographer Lewis Hine.  Hine introduced Strand to the modernist photographer Alfred Stieglitz.  Stieglitz was heavily influential in the art world at the time, pushing for photography to be considered an art form and opening his own gallery, the 291 Gallery, with another influential photographer Edward Steichen, to promote modernist art.  Stieglitz's colleagues were striving to receive acceptance for photography as a form of art.  Stieglitz would become a mentor and artistic comrade of Strand, with both influencing each other for the rest of their careers.With Stieglitz's influence, Strand explored the pictorialist style, creating works with soft focus, and posed scenes.  Photographs aimed to look like paintings.  Around 1915, Strand and Stieglitz sought to change their aesthetics and made the march toward straight photography.  Stieglitz pushed Strand to involve real-life subjects and less manual manipulation of the print and utilized the style that was innate to the methods and materials of photography.  Strand interpreted this request from Stieglitz and created this new style that incorporated high contrasts, clean lines, and emphasis on shape.  These elements come from how Strand captured the real life and movements of subjects, not how he posed or manipulated them.

Category:Photographs in the Philadelphia Museum of Art


Wall Street (photograph)

Prompt: In Wall Street (photograph), how is the Background discussed?

In 1907, as a young teen, the artist, Paul Strand, enrolled in New York's Ethical Culture Fieldston School.  There, Strand was under the tutelage of documentary photographer Lewis Hine.  Hine introduced Strand to the modernist photographer Alfred Stieglitz.  Stieglitz was heavily influential in the art world at the time, pushing for photography to be considered an art form and opening his own gallery, the 291 Gallery, with another influential photographer Edward Steichen, to promote modernist art.  Stieglitz's colleagues were striving to receive acceptance for photography as a form of art.  Stieglitz would become a mentor and artistic comrade of Strand, with both influencing each other for the rest of their careers.With Stieglitz's influence, Strand explored the pictorialist style, creating works with soft focus, and posed scenes.  Photographs aimed to look like paintings.  Around 1915, Strand and Stieglitz sought to change their aesthetics and made the march toward straight photography.  Stieglitz pushed Strand to involve real-life subjects and less manual manipulation of the print and utilized the style that was innate to the methods and materials of photography.  Strand interpreted this request from Stieglitz and created this new style that incorporated high contrasts, clean lines, and emphasis on shape.  These elements come from how Strand captured the real life and movements of subjects, not how he posed or manipulated them.

Category:Photographs in the Philadelphia Museum of Art


Wall Street (photograph)

Prompt: Focus on Wall Street (photograph) and explain the Technique.

This photograph depicts 23 Wall Street, the J.P. Morgan building in New York City.  Strand photographed "people hurrying to work past the banking building" situated on Wall Street, from which the photo takes its name.  the subject depicted is a real-life subject without manipulation.  The depiction of the real nature of the medium and the subject is an example of straight photography. There is no focal point, with the lines converging off of the frame of the image.  The financial building take majority of the frame.  Emphasis is placed on the strong shapes created by the architecture of the building.  The workers are included in the image, but are faceless and are trumped in size by the massive square shapes from the building they walk past.  Also, the workers are captured in motion which on film makes them appear blurry. This aesthetic that Strand creates in Wall Street is his break toward the modern, the straight photography, demonstrating that pictorialism is no longer part of his aesthetic.  Strand captured the building with clean, sharp lines.  The building is covered in the high contrast, chiaroscuro.  It is heavily in the shadows, but still creates an overwhelming presence over the people that walk past it.  These people are also shrouded in the contrast made evident with the clean lines and black and white nature of his photos and photography as a medium.  The people jump from their places, being the dark figures in the light of the sun that beams in from the left of the frame.Strand fills the image with his recognizable aesthetic.  The photo is platinum print, one of the materials frequently used by photographers of the time.  Strand was unique in how he printed his photos.  As stated on the George Eastman House website section Notes on Photography, Strand would make large prints from small negatives.  He also left them in their matte condition that was inherent with platinum print.   With his printing techniques, he "added a richness to the image."  As with the time, the photo is entirely black and white.  There is a heavy contrast with the black and white areas of the photo.  Strand creates diagonal shapes that pull emphasis to subject of the building and away from the people.

Category:Photographs in the Philadelphia Museum of Art


Wall Street (photograph)

Prompt: Explain the Technique of this artwork, Wall Street (photograph).

This photograph depicts 23 Wall Street, the J.P. Morgan building in New York City.  Strand photographed "people hurrying to work past the banking building" situated on Wall Street, from which the photo takes its name.  the subject depicted is a real-life subject without manipulation.  The depiction of the real nature of the medium and the subject is an example of straight photography. There is no focal point, with the lines converging off of the frame of the image.  The financial building take majority of the frame.  Emphasis is placed on the strong shapes created by the architecture of the building.  The workers are included in the image, but are faceless and are trumped in size by the massive square shapes from the building they walk past.  Also, the workers are captured in motion which on film makes them appear blurry. This aesthetic that Strand creates in Wall Street is his break toward the modern, the straight photography, demonstrating that pictorialism is no longer part of his aesthetic.  Strand captured the building with clean, sharp lines.  The building is covered in the high contrast, chiaroscuro.  It is heavily in the shadows, but still creates an overwhelming presence over the people that walk past it.  These people are also shrouded in the contrast made evident with the clean lines and black and white nature of his photos and photography as a medium.  The people jump from their places, being the dark figures in the light of the sun that beams in from the left of the frame.Strand fills the image with his recognizable aesthetic.  The photo is platinum print, one of the materials frequently used by photographers of the time.  Strand was unique in how he printed his photos.  As stated on the George Eastman House website section Notes on Photography, Strand would make large prints from small negatives.  He also left them in their matte condition that was inherent with platinum print.   With his printing techniques, he "added a richness to the image."  As with the time, the photo is entirely black and white.  There is a heavy contrast with the black and white areas of the photo.  Strand creates diagonal shapes that pull emphasis to subject of the building and away from the people.

Category:Photographs in the Philadelphia Museum of Art


Wall Street (photograph)

Prompt: How does Wall Street (photograph) explain its Technique?

This photograph depicts 23 Wall Street, the J.P. Morgan building in New York City.  Strand photographed "people hurrying to work past the banking building" situated on Wall Street, from which the photo takes its name.  the subject depicted is a real-life subject without manipulation.  The depiction of the real nature of the medium and the subject is an example of straight photography. There is no focal point, with the lines converging off of the frame of the image.  The financial building take majority of the frame.  Emphasis is placed on the strong shapes created by the architecture of the building.  The workers are included in the image, but are faceless and are trumped in size by the massive square shapes from the building they walk past.  Also, the workers are captured in motion which on film makes them appear blurry. This aesthetic that Strand creates in Wall Street is his break toward the modern, the straight photography, demonstrating that pictorialism is no longer part of his aesthetic.  Strand captured the building with clean, sharp lines.  The building is covered in the high contrast, chiaroscuro.  It is heavily in the shadows, but still creates an overwhelming presence over the people that walk past it.  These people are also shrouded in the contrast made evident with the clean lines and black and white nature of his photos and photography as a medium.  The people jump from their places, being the dark figures in the light of the sun that beams in from the left of the frame.Strand fills the image with his recognizable aesthetic.  The photo is platinum print, one of the materials frequently used by photographers of the time.  Strand was unique in how he printed his photos.  As stated on the George Eastman House website section Notes on Photography, Strand would make large prints from small negatives.  He also left them in their matte condition that was inherent with platinum print.   With his printing techniques, he "added a richness to the image."  As with the time, the photo is entirely black and white.  There is a heavy contrast with the black and white areas of the photo.  Strand creates diagonal shapes that pull emphasis to subject of the building and away from the people.

Category:Photographs in the Philadelphia Museum of Art


Wall Street (photograph)

Prompt: In Wall Street (photograph), how is the Technique discussed?

This photograph depicts 23 Wall Street, the J.P. Morgan building in New York City.  Strand photographed "people hurrying to work past the banking building" situated on Wall Street, from which the photo takes its name.  the subject depicted is a real-life subject without manipulation.  The depiction of the real nature of the medium and the subject is an example of straight photography. There is no focal point, with the lines converging off of the frame of the image.  The financial building take majority of the frame.  Emphasis is placed on the strong shapes created by the architecture of the building.  The workers are included in the image, but are faceless and are trumped in size by the massive square shapes from the building they walk past.  Also, the workers are captured in motion which on film makes them appear blurry. This aesthetic that Strand creates in Wall Street is his break toward the modern, the straight photography, demonstrating that pictorialism is no longer part of his aesthetic.  Strand captured the building with clean, sharp lines.  The building is covered in the high contrast, chiaroscuro.  It is heavily in the shadows, but still creates an overwhelming presence over the people that walk past it.  These people are also shrouded in the contrast made evident with the clean lines and black and white nature of his photos and photography as a medium.  The people jump from their places, being the dark figures in the light of the sun that beams in from the left of the frame.Strand fills the image with his recognizable aesthetic.  The photo is platinum print, one of the materials frequently used by photographers of the time.  Strand was unique in how he printed his photos.  As stated on the George Eastman House website section Notes on Photography, Strand would make large prints from small negatives.  He also left them in their matte condition that was inherent with platinum print.   With his printing techniques, he "added a richness to the image."  As with the time, the photo is entirely black and white.  There is a heavy contrast with the black and white areas of the photo.  Strand creates diagonal shapes that pull emphasis to subject of the building and away from the people.

Category:Photographs in the Philadelphia Museum of Art


Wall Street (photograph)

Prompt: Focus on Wall Street (photograph) and explain the Aspects.

Having taken Hine's class at the Ethical Culture Fieldston School, social change became important to Strand and appeared often in his art.  As a pupil of Hine, Strand learned of the social aspect his work could have. With Wall Street, he sought to portray a social message.  He captured the faceless people next to the looming financial building in order to give a warning.  Strand shows "the recently built J.P. Morgan Co. building, whose huge, dark recesses dwarf the passersby with the imposing powers of uniformity and anonymity." The people cannot escape the overwhelming power that this modern establishment will have on their future and the future of America. He warns us to not be the small people that look almost ant-like next to this building that has a massive amount of control over the American economy.

Category:Photographs in the Philadelphia Museum of Art


Wall Street (photograph)

Prompt: Explain the Aspects of this artwork, Wall Street (photograph).

Having taken Hine's class at the Ethical Culture Fieldston School, social change became important to Strand and appeared often in his art.  As a pupil of Hine, Strand learned of the social aspect his work could have. With Wall Street, he sought to portray a social message.  He captured the faceless people next to the looming financial building in order to give a warning.  Strand shows "the recently built J.P. Morgan Co. building, whose huge, dark recesses dwarf the passersby with the imposing powers of uniformity and anonymity." The people cannot escape the overwhelming power that this modern establishment will have on their future and the future of America. He warns us to not be the small people that look almost ant-like next to this building that has a massive amount of control over the American economy.

Category:Photographs in the Philadelphia Museum of Art


Wall Street (photograph)

Prompt: How does Wall Street (photograph) explain its Aspects?

Having taken Hine's class at the Ethical Culture Fieldston School, social change became important to Strand and appeared often in his art.  As a pupil of Hine, Strand learned of the social aspect his work could have. With Wall Street, he sought to portray a social message.  He captured the faceless people next to the looming financial building in order to give a warning.  Strand shows "the recently built J.P. Morgan Co. building, whose huge, dark recesses dwarf the passersby with the imposing powers of uniformity and anonymity." The people cannot escape the overwhelming power that this modern establishment will have on their future and the future of America. He warns us to not be the small people that look almost ant-like next to this building that has a massive amount of control over the American economy.

Category:Photographs in the Philadelphia Museum of Art


Wall Street (photograph)

Prompt: In Wall Street (photograph), how is the Aspects discussed?

Having taken Hine's class at the Ethical Culture Fieldston School, social change became important to Strand and appeared often in his art.  As a pupil of Hine, Strand learned of the social aspect his work could have. With Wall Street, he sought to portray a social message.  He captured the faceless people next to the looming financial building in order to give a warning.  Strand shows "the recently built J.P. Morgan Co. building, whose huge, dark recesses dwarf the passersby with the imposing powers of uniformity and anonymity." The people cannot escape the overwhelming power that this modern establishment will have on their future and the future of America. He warns us to not be the small people that look almost ant-like next to this building that has a massive amount of control over the American economy.

Category:Photographs in the Philadelphia Museum of Art


Statue of Jerry West

Prompt: Focus on Statue of Jerry West and explain the abstract.

A bronze statue of Jerry West by Omri Amrany and Julie Rotblatt Amrany is installed outside Los Angeles' Crypto.com Arena, in the U.S. state of California. The sculpture was unveiled in 2011.

Category:Bronze sculptures in California

Category:South Park (Downtown Los Angeles)

Category:Outdoor sculptures in Greater Los Angeles

Category:Statues of sportspeople in California

Category:Monuments and memorials in Los Angeles

Category:Sculptures of men in California


Statue of Jerry West

Prompt: Explain the abstract of this artwork, Statue of Jerry West.

A bronze statue of Jerry West by Omri Amrany and Julie Rotblatt Amrany is installed outside Los Angeles' Crypto.com Arena, in the U.S. state of California. The sculpture was unveiled in 2011.

Category:Bronze sculptures in California

Category:South Park (Downtown Los Angeles)

Category:Outdoor sculptures in Greater Los Angeles

Category:Statues of sportspeople in California

Category:Monuments and memorials in Los Angeles

Category:Sculptures of men in California


Statue of Jerry West

Prompt: How does Statue of Jerry West explain its abstract?

A bronze statue of Jerry West by Omri Amrany and Julie Rotblatt Amrany is installed outside Los Angeles' Crypto.com Arena, in the U.S. state of California. The sculpture was unveiled in 2011.

Category:Bronze sculptures in California

Category:South Park (Downtown Los Angeles)

Category:Outdoor sculptures in Greater Los Angeles

Category:Statues of sportspeople in California

Category:Monuments and memorials in Los Angeles

Category:Sculptures of men in California


Statue of Jerry West

Prompt: In Statue of Jerry West, how is the abstract discussed?

A bronze statue of Jerry West by Omri Amrany and Julie Rotblatt Amrany is installed outside Los Angeles' Crypto.com Arena, in the U.S. state of California. The sculpture was unveiled in 2011.

Category:Bronze sculptures in California

Category:South Park (Downtown Los Angeles)

Category:Outdoor sculptures in Greater Los Angeles

Category:Statues of sportspeople in California

Category:Monuments and memorials in Los Angeles

Category:Sculptures of men in California


Hours of Jeanne de Navarre

Prompt: Focus on Hours of Jeanne de Navarre and explain the abstract.

The Hours of Jeanne de Navarre is an illuminated book of hours with miniatures painted by Jean Le Noir. The book was commissioned by Philip VI of Valois and his wife, Blanche de Navarre, for Jeanne de Navarre, Queen of Navarre. The book was created sometime between 1336 and 1340 and is now in the Bibliothèque Nationale, Paris.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Explain the abstract of this artwork, Hours of Jeanne de Navarre.

The Hours of Jeanne de Navarre is an illuminated book of hours with miniatures painted by Jean Le Noir. The book was commissioned by Philip VI of Valois and his wife, Blanche de Navarre, for Jeanne de Navarre, Queen of Navarre. The book was created sometime between 1336 and 1340 and is now in the Bibliothèque Nationale, Paris.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: How does Hours of Jeanne de Navarre explain its abstract?

The Hours of Jeanne de Navarre is an illuminated book of hours with miniatures painted by Jean Le Noir. The book was commissioned by Philip VI of Valois and his wife, Blanche de Navarre, for Jeanne de Navarre, Queen of Navarre. The book was created sometime between 1336 and 1340 and is now in the Bibliothèque Nationale, Paris.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: In Hours of Jeanne de Navarre, how is the abstract discussed?

The Hours of Jeanne de Navarre is an illuminated book of hours with miniatures painted by Jean Le Noir. The book was commissioned by Philip VI of Valois and his wife, Blanche de Navarre, for Jeanne de Navarre, Queen of Navarre. The book was created sometime between 1336 and 1340 and is now in the Bibliothèque Nationale, Paris.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Focus on Hours of Jeanne de Navarre and explain the Contents.

The illuminated book consists of 271 folios written in Latin. There are 32 illustration miniatures.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Explain the Contents of this artwork, Hours of Jeanne de Navarre.

The illuminated book consists of 271 folios written in Latin. There are 32 illustration miniatures.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: How does Hours of Jeanne de Navarre explain its Contents?

The illuminated book consists of 271 folios written in Latin. There are 32 illustration miniatures.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: In Hours of Jeanne de Navarre, how is the Contents discussed?

The illuminated book consists of 271 folios written in Latin. There are 32 illustration miniatures.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: In the context of Hours of Jeanne de Navarre, explain the Books of Hours and the Contents.

The creation of books of hours during the middle ages was a very common process for female members of the royal family. The first king of France, John the Good, was especially interested in illuminated manuscripts. Books of hours, prior to the thirteenth century, were given as gifts to the church. As more and more aristocrats wanted to practice inside of their own homes, more of these books were commissioned for private religious devotion. These books are very similar to psalter books. This book can also be seen as a form of connoisseurship where some books have no evidence of usage of finger prints or rubbing on the book.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Explain the Books of Hours about the Contents of this artwork, Hours of Jeanne de Navarre.

The creation of books of hours during the middle ages was a very common process for female members of the royal family. The first king of France, John the Good, was especially interested in illuminated manuscripts. Books of hours, prior to the thirteenth century, were given as gifts to the church. As more and more aristocrats wanted to practice inside of their own homes, more of these books were commissioned for private religious devotion. These books are very similar to psalter books. This book can also be seen as a form of connoisseurship where some books have no evidence of usage of finger prints or rubbing on the book.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: In Hours of Jeanne de Navarre, how is the Books of Hours of the Contents explained?

The creation of books of hours during the middle ages was a very common process for female members of the royal family. The first king of France, John the Good, was especially interested in illuminated manuscripts. Books of hours, prior to the thirteenth century, were given as gifts to the church. As more and more aristocrats wanted to practice inside of their own homes, more of these books were commissioned for private religious devotion. These books are very similar to psalter books. This book can also be seen as a form of connoisseurship where some books have no evidence of usage of finger prints or rubbing on the book.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Describe the characteristics of the Books of Hours in Hours of Jeanne de Navarre's Contents.

The creation of books of hours during the middle ages was a very common process for female members of the royal family. The first king of France, John the Good, was especially interested in illuminated manuscripts. Books of hours, prior to the thirteenth century, were given as gifts to the church. As more and more aristocrats wanted to practice inside of their own homes, more of these books were commissioned for private religious devotion. These books are very similar to psalter books. This book can also be seen as a form of connoisseurship where some books have no evidence of usage of finger prints or rubbing on the book.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: In the context of Hours of Jeanne de Navarre, explain the Format and the Contents.

The Hours of Jeanne de Navarre features border bars and ivy on the larger illuminations of this book, which is a very similar stylistic approach to other illuminated manuscripts. The ivy included coloring of blue, yellow, and red which is similar to that of the French Psalterium. A Psalterium, contains religious lyrics and is used in religious context by priests for prayer or practice. The ivy is also a religious symbol, mostly connected to the idea of immortality.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Explain the Format about the Contents of this artwork, Hours of Jeanne de Navarre.

The Hours of Jeanne de Navarre features border bars and ivy on the larger illuminations of this book, which is a very similar stylistic approach to other illuminated manuscripts. The ivy included coloring of blue, yellow, and red which is similar to that of the French Psalterium. A Psalterium, contains religious lyrics and is used in religious context by priests for prayer or practice. The ivy is also a religious symbol, mostly connected to the idea of immortality.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: In Hours of Jeanne de Navarre, how is the Format of the Contents explained?

The Hours of Jeanne de Navarre features border bars and ivy on the larger illuminations of this book, which is a very similar stylistic approach to other illuminated manuscripts. The ivy included coloring of blue, yellow, and red which is similar to that of the French Psalterium. A Psalterium, contains religious lyrics and is used in religious context by priests for prayer or practice. The ivy is also a religious symbol, mostly connected to the idea of immortality.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Describe the characteristics of the Format in Hours of Jeanne de Navarre's Contents.

The Hours of Jeanne de Navarre features border bars and ivy on the larger illuminations of this book, which is a very similar stylistic approach to other illuminated manuscripts. The ivy included coloring of blue, yellow, and red which is similar to that of the French Psalterium. A Psalterium, contains religious lyrics and is used in religious context by priests for prayer or practice. The ivy is also a religious symbol, mostly connected to the idea of immortality.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: In the context of Hours of Jeanne de Navarre, explain the The Betrayal of Christ on the Mount Olives and the Contents.

This image is the introductory picture to the Office of Passion section of the book of hours. This section is highly important as the Passion highly focalized piety and devotion which was very important during the medieval period. The composition of the manuscript page is very crowded. All of the figures are overlapping with each other and interacting in some way. Jesus is the man in the middle wearing a red dress robe with a blue shawl covering himself. Peter is shown to the left of Jesus wearing a blue tunic and shawl. Malchus, who was a servant of the Jewish High Priest Caiaphas, is shown towards Peter's feet getting his ear cut off. Jesus is seen being arrested by a group of Roman soldiers who are on the right side of the page. Jesus had been betrayed earlier in the day by one of his Apostles, Judas Iscariot. Judus got thirty pieces of silver for his betrayal and lead the soldiers to the garden where Jesus and the disciples were on Mount Olive. The figures on the left that include Jesus and his disciples, all have golden halos around their heads which is a sign of divinity. Jesus specifically, has golden rays on his halo.In the Gospel of Mark, it has been said that a young man ran away when Jesus was captured, academics have assumed that this is the boy hiding in the bush at the bas-de-page. The Gospel mentions his nakedness which is not depicted here, however this interpretation could be that he is looking for his shoes in the bush when he originally fled as he is no longer wearing shoes.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Explain the The Betrayal of Christ on the Mount Olives about the Contents of this artwork, Hours of Jeanne de Navarre.

This image is the introductory picture to the Office of Passion section of the book of hours. This section is highly important as the Passion highly focalized piety and devotion which was very important during the medieval period. The composition of the manuscript page is very crowded. All of the figures are overlapping with each other and interacting in some way. Jesus is the man in the middle wearing a red dress robe with a blue shawl covering himself. Peter is shown to the left of Jesus wearing a blue tunic and shawl. Malchus, who was a servant of the Jewish High Priest Caiaphas, is shown towards Peter's feet getting his ear cut off. Jesus is seen being arrested by a group of Roman soldiers who are on the right side of the page. Jesus had been betrayed earlier in the day by one of his Apostles, Judas Iscariot. Judus got thirty pieces of silver for his betrayal and lead the soldiers to the garden where Jesus and the disciples were on Mount Olive. The figures on the left that include Jesus and his disciples, all have golden halos around their heads which is a sign of divinity. Jesus specifically, has golden rays on his halo.In the Gospel of Mark, it has been said that a young man ran away when Jesus was captured, academics have assumed that this is the boy hiding in the bush at the bas-de-page. The Gospel mentions his nakedness which is not depicted here, however this interpretation could be that he is looking for his shoes in the bush when he originally fled as he is no longer wearing shoes.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: In Hours of Jeanne de Navarre, how is the The Betrayal of Christ on the Mount Olives of the Contents explained?

This image is the introductory picture to the Office of Passion section of the book of hours. This section is highly important as the Passion highly focalized piety and devotion which was very important during the medieval period. The composition of the manuscript page is very crowded. All of the figures are overlapping with each other and interacting in some way. Jesus is the man in the middle wearing a red dress robe with a blue shawl covering himself. Peter is shown to the left of Jesus wearing a blue tunic and shawl. Malchus, who was a servant of the Jewish High Priest Caiaphas, is shown towards Peter's feet getting his ear cut off. Jesus is seen being arrested by a group of Roman soldiers who are on the right side of the page. Jesus had been betrayed earlier in the day by one of his Apostles, Judas Iscariot. Judus got thirty pieces of silver for his betrayal and lead the soldiers to the garden where Jesus and the disciples were on Mount Olive. The figures on the left that include Jesus and his disciples, all have golden halos around their heads which is a sign of divinity. Jesus specifically, has golden rays on his halo.In the Gospel of Mark, it has been said that a young man ran away when Jesus was captured, academics have assumed that this is the boy hiding in the bush at the bas-de-page. The Gospel mentions his nakedness which is not depicted here, however this interpretation could be that he is looking for his shoes in the bush when he originally fled as he is no longer wearing shoes.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Describe the characteristics of the The Betrayal of Christ on the Mount Olives in Hours of Jeanne de Navarre's Contents.

This image is the introductory picture to the Office of Passion section of the book of hours. This section is highly important as the Passion highly focalized piety and devotion which was very important during the medieval period. The composition of the manuscript page is very crowded. All of the figures are overlapping with each other and interacting in some way. Jesus is the man in the middle wearing a red dress robe with a blue shawl covering himself. Peter is shown to the left of Jesus wearing a blue tunic and shawl. Malchus, who was a servant of the Jewish High Priest Caiaphas, is shown towards Peter's feet getting his ear cut off. Jesus is seen being arrested by a group of Roman soldiers who are on the right side of the page. Jesus had been betrayed earlier in the day by one of his Apostles, Judas Iscariot. Judus got thirty pieces of silver for his betrayal and lead the soldiers to the garden where Jesus and the disciples were on Mount Olive. The figures on the left that include Jesus and his disciples, all have golden halos around their heads which is a sign of divinity. Jesus specifically, has golden rays on his halo.In the Gospel of Mark, it has been said that a young man ran away when Jesus was captured, academics have assumed that this is the boy hiding in the bush at the bas-de-page. The Gospel mentions his nakedness which is not depicted here, however this interpretation could be that he is looking for his shoes in the bush when he originally fled as he is no longer wearing shoes.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Focus on Hours of Jeanne de Navarre and explain the Patronage.

Jeanne de Navarre is also referred to as Joan II of Navarre. Jeanne de Navarre was the daughter of the French King Louis X and Margaret of Burgundy. Philip VI, who gifted her the book, was Jeanne's second cousin on her fathers side and the King of France beginning in 1328. He came to terms with Jeanne and her husband, Philip III, in where they renounced their claim to Champagne and Brie in exchange for the right of Navarre. Together they ruled from 1328 to their respective deaths in 1348 and 1349.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Explain the Patronage of this artwork, Hours of Jeanne de Navarre.

Jeanne de Navarre is also referred to as Joan II of Navarre. Jeanne de Navarre was the daughter of the French King Louis X and Margaret of Burgundy. Philip VI, who gifted her the book, was Jeanne's second cousin on her fathers side and the King of France beginning in 1328. He came to terms with Jeanne and her husband, Philip III, in where they renounced their claim to Champagne and Brie in exchange for the right of Navarre. Together they ruled from 1328 to their respective deaths in 1348 and 1349.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: How does Hours of Jeanne de Navarre explain its Patronage?

Jeanne de Navarre is also referred to as Joan II of Navarre. Jeanne de Navarre was the daughter of the French King Louis X and Margaret of Burgundy. Philip VI, who gifted her the book, was Jeanne's second cousin on her fathers side and the King of France beginning in 1328. He came to terms with Jeanne and her husband, Philip III, in where they renounced their claim to Champagne and Brie in exchange for the right of Navarre. Together they ruled from 1328 to their respective deaths in 1348 and 1349.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: In Hours of Jeanne de Navarre, how is the Patronage discussed?

Jeanne de Navarre is also referred to as Joan II of Navarre. Jeanne de Navarre was the daughter of the French King Louis X and Margaret of Burgundy. Philip VI, who gifted her the book, was Jeanne's second cousin on her fathers side and the King of France beginning in 1328. He came to terms with Jeanne and her husband, Philip III, in where they renounced their claim to Champagne and Brie in exchange for the right of Navarre. Together they ruled from 1328 to their respective deaths in 1348 and 1349.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Focus on Hours of Jeanne de Navarre and explain the Artistic influences.

A soldier appears in the small initial D looking at the observer through his half-opened visor. This is a motif that was invented by Pucelle.The Hours of Jeanne de Navarre was modeled on the first volume of the Belleville Breviary. They have similar coloring, lettering, and the foliage outline oof the words. Jeanne de Navarre's book also contains miniatures depicting the four offices devoted to the Trinity, the Virgin Mary, Saint Louis, and the Passion that is also in the Belleville Breviary. This combination is rare in books of Hours.The composition The Betrayal of Christ on the Mount Olives from the Hours of Jeanne de Navarre is based on a miniature from the Hours de Jeanne d'Evreux created by Jean Pucelle which is folio 15 verso ill. A trait that Le Noir picks up from Pucelle is the tiny soldier peeking out of the D initial on the page.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Explain the Artistic influences of this artwork, Hours of Jeanne de Navarre.

A soldier appears in the small initial D looking at the observer through his half-opened visor. This is a motif that was invented by Pucelle.The Hours of Jeanne de Navarre was modeled on the first volume of the Belleville Breviary. They have similar coloring, lettering, and the foliage outline oof the words. Jeanne de Navarre's book also contains miniatures depicting the four offices devoted to the Trinity, the Virgin Mary, Saint Louis, and the Passion that is also in the Belleville Breviary. This combination is rare in books of Hours.The composition The Betrayal of Christ on the Mount Olives from the Hours of Jeanne de Navarre is based on a miniature from the Hours de Jeanne d'Evreux created by Jean Pucelle which is folio 15 verso ill. A trait that Le Noir picks up from Pucelle is the tiny soldier peeking out of the D initial on the page.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: How does Hours of Jeanne de Navarre explain its Artistic influences?

A soldier appears in the small initial D looking at the observer through his half-opened visor. This is a motif that was invented by Pucelle.The Hours of Jeanne de Navarre was modeled on the first volume of the Belleville Breviary. They have similar coloring, lettering, and the foliage outline oof the words. Jeanne de Navarre's book also contains miniatures depicting the four offices devoted to the Trinity, the Virgin Mary, Saint Louis, and the Passion that is also in the Belleville Breviary. This combination is rare in books of Hours.The composition The Betrayal of Christ on the Mount Olives from the Hours of Jeanne de Navarre is based on a miniature from the Hours de Jeanne d'Evreux created by Jean Pucelle which is folio 15 verso ill. A trait that Le Noir picks up from Pucelle is the tiny soldier peeking out of the D initial on the page.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: In Hours of Jeanne de Navarre, how is the Artistic influences discussed?

A soldier appears in the small initial D looking at the observer through his half-opened visor. This is a motif that was invented by Pucelle.The Hours of Jeanne de Navarre was modeled on the first volume of the Belleville Breviary. They have similar coloring, lettering, and the foliage outline oof the words. Jeanne de Navarre's book also contains miniatures depicting the four offices devoted to the Trinity, the Virgin Mary, Saint Louis, and the Passion that is also in the Belleville Breviary. This combination is rare in books of Hours.The composition The Betrayal of Christ on the Mount Olives from the Hours of Jeanne de Navarre is based on a miniature from the Hours de Jeanne d'Evreux created by Jean Pucelle which is folio 15 verso ill. A trait that Le Noir picks up from Pucelle is the tiny soldier peeking out of the D initial on the page.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Focus on Hours of Jeanne de Navarre and explain the Artist.

Jean Le Noir was an active illuminator in Paris between 1335 and 1380. He was a student of Jean Pucelle: scholars even assumed Le Noir took over Pucelle's workshop when he passed. Le Noir and his daughter, Bourgot Le Noir, worked for Yolande of Flanders and later the King. In 1364, he worked for Charles V and soon after they worked in Bourges for the Duke of Berry during the 1370s. His title during the time this manuscript was created was Jehan Lenior, enluminieur.Earlier research on this book attributed Jean Pucelle as the creator due to the coloring and the shape of the figures. However, in 1970, it was discovered that Pucelle had died in 1334 before the book was created. The references to Navarre, Evreux, and Burgandy, but not Champagne, point to the book being created after 1336 when Jeanne had given up that title. Research also indicates that four miniaturists were involved in this book process. The first artist would have come from a collective groups of artist studying together and would become the main master of the book. This would have been the role of Jean Le Noir. He would have been in charge of the most pictures in the codex such as the Office of the Blessed Virgin and the Office of Passion.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Explain the Artist of this artwork, Hours of Jeanne de Navarre.

Jean Le Noir was an active illuminator in Paris between 1335 and 1380. He was a student of Jean Pucelle: scholars even assumed Le Noir took over Pucelle's workshop when he passed. Le Noir and his daughter, Bourgot Le Noir, worked for Yolande of Flanders and later the King. In 1364, he worked for Charles V and soon after they worked in Bourges for the Duke of Berry during the 1370s. His title during the time this manuscript was created was Jehan Lenior, enluminieur.Earlier research on this book attributed Jean Pucelle as the creator due to the coloring and the shape of the figures. However, in 1970, it was discovered that Pucelle had died in 1334 before the book was created. The references to Navarre, Evreux, and Burgandy, but not Champagne, point to the book being created after 1336 when Jeanne had given up that title. Research also indicates that four miniaturists were involved in this book process. The first artist would have come from a collective groups of artist studying together and would become the main master of the book. This would have been the role of Jean Le Noir. He would have been in charge of the most pictures in the codex such as the Office of the Blessed Virgin and the Office of Passion.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: How does Hours of Jeanne de Navarre explain its Artist?

Jean Le Noir was an active illuminator in Paris between 1335 and 1380. He was a student of Jean Pucelle: scholars even assumed Le Noir took over Pucelle's workshop when he passed. Le Noir and his daughter, Bourgot Le Noir, worked for Yolande of Flanders and later the King. In 1364, he worked for Charles V and soon after they worked in Bourges for the Duke of Berry during the 1370s. His title during the time this manuscript was created was Jehan Lenior, enluminieur.Earlier research on this book attributed Jean Pucelle as the creator due to the coloring and the shape of the figures. However, in 1970, it was discovered that Pucelle had died in 1334 before the book was created. The references to Navarre, Evreux, and Burgandy, but not Champagne, point to the book being created after 1336 when Jeanne had given up that title. Research also indicates that four miniaturists were involved in this book process. The first artist would have come from a collective groups of artist studying together and would become the main master of the book. This would have been the role of Jean Le Noir. He would have been in charge of the most pictures in the codex such as the Office of the Blessed Virgin and the Office of Passion.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: In Hours of Jeanne de Navarre, how is the Artist discussed?

Jean Le Noir was an active illuminator in Paris between 1335 and 1380. He was a student of Jean Pucelle: scholars even assumed Le Noir took over Pucelle's workshop when he passed. Le Noir and his daughter, Bourgot Le Noir, worked for Yolande of Flanders and later the King. In 1364, he worked for Charles V and soon after they worked in Bourges for the Duke of Berry during the 1370s. His title during the time this manuscript was created was Jehan Lenior, enluminieur.Earlier research on this book attributed Jean Pucelle as the creator due to the coloring and the shape of the figures. However, in 1970, it was discovered that Pucelle had died in 1334 before the book was created. The references to Navarre, Evreux, and Burgandy, but not Champagne, point to the book being created after 1336 when Jeanne had given up that title. Research also indicates that four miniaturists were involved in this book process. The first artist would have come from a collective groups of artist studying together and would become the main master of the book. This would have been the role of Jean Le Noir. He would have been in charge of the most pictures in the codex such as the Office of the Blessed Virgin and the Office of Passion.

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Focus on Hours of Jeanne de Navarre and explain the Provenance.

During the fifteenth century, the manuscript was in the possession of Anne Belline, who was a nun at the Convent of Cordelieres de Lurcines. The book remained with the nunnery up through the seventeenth century. The manuscript then came into the possession of Lady Ashburnham and then Henery Yates Thompson. It was then brought into the art collection of Baron Edmond and Alexandrine de Rothschild. It was previously believed the book was given to Bibliothèque Nationale, Paris. in the 19th century, but as explained in Christopher De Hamel's Meetings With Remarkable Manuscripts it was actually purchased by the French government from the West German government in the 1960s having been in the possession of Herman Goering during the Second World War.Special:BookSources/9781594206115

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: Explain the Provenance of this artwork, Hours of Jeanne de Navarre.

During the fifteenth century, the manuscript was in the possession of Anne Belline, who was a nun at the Convent of Cordelieres de Lurcines. The book remained with the nunnery up through the seventeenth century. The manuscript then came into the possession of Lady Ashburnham and then Henery Yates Thompson. It was then brought into the art collection of Baron Edmond and Alexandrine de Rothschild. It was previously believed the book was given to Bibliothèque Nationale, Paris. in the 19th century, but as explained in Christopher De Hamel's Meetings With Remarkable Manuscripts it was actually purchased by the French government from the West German government in the 1960s having been in the possession of Herman Goering during the Second World War.Special:BookSources/9781594206115

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: How does Hours of Jeanne de Navarre explain its Provenance?

During the fifteenth century, the manuscript was in the possession of Anne Belline, who was a nun at the Convent of Cordelieres de Lurcines. The book remained with the nunnery up through the seventeenth century. The manuscript then came into the possession of Lady Ashburnham and then Henery Yates Thompson. It was then brought into the art collection of Baron Edmond and Alexandrine de Rothschild. It was previously believed the book was given to Bibliothèque Nationale, Paris. in the 19th century, but as explained in Christopher De Hamel's Meetings With Remarkable Manuscripts it was actually purchased by the French government from the West German government in the 1960s having been in the possession of Herman Goering during the Second World War.Special:BookSources/9781594206115

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Hours of Jeanne de Navarre

Prompt: In Hours of Jeanne de Navarre, how is the Provenance discussed?

During the fifteenth century, the manuscript was in the possession of Anne Belline, who was a nun at the Convent of Cordelieres de Lurcines. The book remained with the nunnery up through the seventeenth century. The manuscript then came into the possession of Lady Ashburnham and then Henery Yates Thompson. It was then brought into the art collection of Baron Edmond and Alexandrine de Rothschild. It was previously believed the book was given to Bibliothèque Nationale, Paris. in the 19th century, but as explained in Christopher De Hamel's Meetings With Remarkable Manuscripts it was actually purchased by the French government from the West German government in the 1960s having been in the possession of Herman Goering during the Second World War.Special:BookSources/9781594206115

''The Betrayal of Christ on the Mount on Olives from the Hours of Jeanne d'Eureux''

''Psalm 70 from the Belleville Breviary''

''St Louis and Blanche of Castille Riding to Reins for the Coronation from the Hours of Jeanne de Navarre''

''The Annunciation of the Shepherd from the Hours of Jeanne de Navarre''

Category:Bibliothèque nationale de France collections

''Education of Saint Louis from the Hours of Jeanne de Navarre''


Angel of the West

Prompt: Focus on Angel of the West and explain the abstract.

Angel of the West is an outdoor sculpture in Jupiter, Florida, United States. The sculpture was made in 2008 by German sculptor Julian Voss-Andreae. Referencing British sculptor Antony Gormley's monumental 1998 piece Angel of the North it was created based on an antibody structure published by E. Padlan for the Florida campus of the Scripps Research Institute. The antibody is placed into a ring referencing Leonardo da Vinci's Vitruvian Man highlighting the similar proportions of the antibody and the human body.

Category:Stainless steel sculptures in the United States

Category:Buildings and structures in Palm Beach County, Florida


Angel of the West

Prompt: Explain the abstract of this artwork, Angel of the West.

Angel of the West is an outdoor sculpture in Jupiter, Florida, United States. The sculpture was made in 2008 by German sculptor Julian Voss-Andreae. Referencing British sculptor Antony Gormley's monumental 1998 piece Angel of the North it was created based on an antibody structure published by E. Padlan for the Florida campus of the Scripps Research Institute. The antibody is placed into a ring referencing Leonardo da Vinci's Vitruvian Man highlighting the similar proportions of the antibody and the human body.

Category:Stainless steel sculptures in the United States

Category:Buildings and structures in Palm Beach County, Florida


Angel of the West

Prompt: How does Angel of the West explain its abstract?

Angel of the West is an outdoor sculpture in Jupiter, Florida, United States. The sculpture was made in 2008 by German sculptor Julian Voss-Andreae. Referencing British sculptor Antony Gormley's monumental 1998 piece Angel of the North it was created based on an antibody structure published by E. Padlan for the Florida campus of the Scripps Research Institute. The antibody is placed into a ring referencing Leonardo da Vinci's Vitruvian Man highlighting the similar proportions of the antibody and the human body.

Category:Stainless steel sculptures in the United States

Category:Buildings and structures in Palm Beach County, Florida


Angel of the West

Prompt: In Angel of the West, how is the abstract discussed?

Angel of the West is an outdoor sculpture in Jupiter, Florida, United States. The sculpture was made in 2008 by German sculptor Julian Voss-Andreae. Referencing British sculptor Antony Gormley's monumental 1998 piece Angel of the North it was created based on an antibody structure published by E. Padlan for the Florida campus of the Scripps Research Institute. The antibody is placed into a ring referencing Leonardo da Vinci's Vitruvian Man highlighting the similar proportions of the antibody and the human body.

Category:Stainless steel sculptures in the United States

Category:Buildings and structures in Palm Beach County, Florida