Portrait of Dora Maar

Prompt: How does Portrait of Dora Maar explain its Significance and legacy?

Portrait of Dora Maar clearly shows the importance of the subject in Picasso's life. He painted numerous portraits of her during their relationship. Maar shared Picasso's life during the interwar period, a tumultuous time leading up to World War II. Connections have been drawn between the torment of the young woman as depicted in Picasso's portraits and the political upheavals of the period, particularly in Spain. The portrait therefore may be seen as a reflection of the anxiety caused by the Spanish Civil War, which broke out, a year before, in 1936.

Peter Paul Reubens
World War II
Musée Picasso Paris
Category:Portraits of women
Left-wing politics
Dora Maar au Chat
Les Deux Magots
Peter Paul Rubens
Paul Éluard
Category:20th-century portraits
Paris
Saint-Germain-des-Prés
Dora Maar
Surrealist
Marie-Thérèse Walter
Musée Picasso
Category:Portraits by Pablo Picasso
The Weeping Woman
Surrealism
Paul Eluard
1937 in art
Oil painting
Category:Paintings by Pablo Picasso
oil on canvas
Pablo Picasso
left-wing activities
Spanish Civil War
Helena Fourment with a Carriage
List of Picasso artworks 1931–1940
Category:1937 paintings
The Crime of Monsieur Lange
brasserie


Portrait of Dora Maar

Prompt: In Portrait of Dora Maar, how is the Significance and legacy discussed?

Portrait of Dora Maar clearly shows the importance of the subject in Picasso's life. He painted numerous portraits of her during their relationship. Maar shared Picasso's life during the interwar period, a tumultuous time leading up to World War II. Connections have been drawn between the torment of the young woman as depicted in Picasso's portraits and the political upheavals of the period, particularly in Spain. The portrait therefore may be seen as a reflection of the anxiety caused by the Spanish Civil War, which broke out, a year before, in 1936.

Peter Paul Reubens
World War II
Musée Picasso Paris
Category:Portraits of women
Left-wing politics
Dora Maar au Chat
Les Deux Magots
Peter Paul Rubens
Paul Éluard
Category:20th-century portraits
Paris
Saint-Germain-des-Prés
Dora Maar
Surrealist
Marie-Thérèse Walter
Musée Picasso
Category:Portraits by Pablo Picasso
The Weeping Woman
Surrealism
Paul Eluard
1937 in art
Oil painting
Category:Paintings by Pablo Picasso
oil on canvas
Pablo Picasso
left-wing activities
Spanish Civil War
Helena Fourment with a Carriage
List of Picasso artworks 1931–1940
Category:1937 paintings
The Crime of Monsieur Lange
brasserie


Last Supper (Tintoretto)

Prompt: Focus on Last Supper (Tintoretto) and explain the abstract.

The  Last Supper is a painting by the Italian Renaissance artist Jacopo Tintoretto.  An oil painting on canvas executed in 1592–1594, it is housed in the Basilica di San Giorgio Maggiore in Venice, Italy.

File:Albrecht Dürer - The Last Supper - WGA7259.jpg

Leonardo da Vinci's late 1490s mural painting


Last Supper (Tintoretto)

Prompt: Explain the abstract of this artwork, Last Supper (Tintoretto).

The  Last Supper is a painting by the Italian Renaissance artist Jacopo Tintoretto.  An oil painting on canvas executed in 1592–1594, it is housed in the Basilica di San Giorgio Maggiore in Venice, Italy.

File:Albrecht Dürer - The Last Supper - WGA7259.jpg

Leonardo da Vinci's late 1490s mural painting


Last Supper (Tintoretto)

Prompt: How does Last Supper (Tintoretto) explain its abstract?

The  Last Supper is a painting by the Italian Renaissance artist Jacopo Tintoretto.  An oil painting on canvas executed in 1592–1594, it is housed in the Basilica di San Giorgio Maggiore in Venice, Italy.

File:Albrecht Dürer - The Last Supper - WGA7259.jpg

Leonardo da Vinci's late 1490s mural painting


Last Supper (Tintoretto)

Prompt: In Last Supper (Tintoretto), how is the abstract discussed?

The  Last Supper is a painting by the Italian Renaissance artist Jacopo Tintoretto.  An oil painting on canvas executed in 1592–1594, it is housed in the Basilica di San Giorgio Maggiore in Venice, Italy.

File:Albrecht Dürer - The Last Supper - WGA7259.jpg

Leonardo da Vinci's late 1490s mural painting


Last Supper (Tintoretto)

Prompt: Focus on Last Supper (Tintoretto) and explain the Overview.

Tintoretto depicted the Last Supper several times during his artistic career. His earlier paintings for the Chiesa di San Marcuola (1547) and for the Chiesa di San Felice (1559) depict the scene from a frontal perspective, with the figures seated at a table placed parallel to the picture plane. This follows a convention observed in most paintings of the Last Supper, of which Leonardo da Vinci's late 1490s mural painting in Milan, Italy, is probably the best-known example. Tintoretto's painting of 1592–1594, a work of his final years, departs drastically from this compositional formula. The centre of the scene is occupied not by the apostles but instead by secondary characters, such as a woman carrying a dish and the servants taking the dishes from the table. The table at which the apostles sit recedes into space on a steep diagonal. Furthermore, Tintoretto's painting features a more personal use of light, which appears to come into obscurity from both the light on the ceiling and from Jesus' aureola. A host of angels hover above the scene.Tintoretto's Last Supper makes use of Mannerist devices in its complex and radically asymmetrical composition. In its dynamism and emphasis on the quotidian—the setting is similar to a Venetian inn—the painting points the way to the Baroque. "The ability of this dramatic scene to engage viewers was well in keeping with Counter-Reformation ideals and the Catholic Church's belief in the didactic nature of religious art."

File:Albrecht Dürer - The Last Supper - WGA7259.jpg


Last Supper (Tintoretto)

Prompt: Explain the Overview of this artwork, Last Supper (Tintoretto).

Tintoretto depicted the Last Supper several times during his artistic career. His earlier paintings for the Chiesa di San Marcuola (1547) and for the Chiesa di San Felice (1559) depict the scene from a frontal perspective, with the figures seated at a table placed parallel to the picture plane. This follows a convention observed in most paintings of the Last Supper, of which Leonardo da Vinci's late 1490s mural painting in Milan, Italy, is probably the best-known example. Tintoretto's painting of 1592–1594, a work of his final years, departs drastically from this compositional formula. The centre of the scene is occupied not by the apostles but instead by secondary characters, such as a woman carrying a dish and the servants taking the dishes from the table. The table at which the apostles sit recedes into space on a steep diagonal. Furthermore, Tintoretto's painting features a more personal use of light, which appears to come into obscurity from both the light on the ceiling and from Jesus' aureola. A host of angels hover above the scene.Tintoretto's Last Supper makes use of Mannerist devices in its complex and radically asymmetrical composition. In its dynamism and emphasis on the quotidian—the setting is similar to a Venetian inn—the painting points the way to the Baroque. "The ability of this dramatic scene to engage viewers was well in keeping with Counter-Reformation ideals and the Catholic Church's belief in the didactic nature of religious art."

File:Albrecht Dürer - The Last Supper - WGA7259.jpg


Last Supper (Tintoretto)

Prompt: How does Last Supper (Tintoretto) explain its Overview?

Tintoretto depicted the Last Supper several times during his artistic career. His earlier paintings for the Chiesa di San Marcuola (1547) and for the Chiesa di San Felice (1559) depict the scene from a frontal perspective, with the figures seated at a table placed parallel to the picture plane. This follows a convention observed in most paintings of the Last Supper, of which Leonardo da Vinci's late 1490s mural painting in Milan, Italy, is probably the best-known example. Tintoretto's painting of 1592–1594, a work of his final years, departs drastically from this compositional formula. The centre of the scene is occupied not by the apostles but instead by secondary characters, such as a woman carrying a dish and the servants taking the dishes from the table. The table at which the apostles sit recedes into space on a steep diagonal. Furthermore, Tintoretto's painting features a more personal use of light, which appears to come into obscurity from both the light on the ceiling and from Jesus' aureola. A host of angels hover above the scene.Tintoretto's Last Supper makes use of Mannerist devices in its complex and radically asymmetrical composition. In its dynamism and emphasis on the quotidian—the setting is similar to a Venetian inn—the painting points the way to the Baroque. "The ability of this dramatic scene to engage viewers was well in keeping with Counter-Reformation ideals and the Catholic Church's belief in the didactic nature of religious art."

File:Albrecht Dürer - The Last Supper - WGA7259.jpg


Last Supper (Tintoretto)

Prompt: In Last Supper (Tintoretto), how is the Overview discussed?

Tintoretto depicted the Last Supper several times during his artistic career. His earlier paintings for the Chiesa di San Marcuola (1547) and for the Chiesa di San Felice (1559) depict the scene from a frontal perspective, with the figures seated at a table placed parallel to the picture plane. This follows a convention observed in most paintings of the Last Supper, of which Leonardo da Vinci's late 1490s mural painting in Milan, Italy, is probably the best-known example. Tintoretto's painting of 1592–1594, a work of his final years, departs drastically from this compositional formula. The centre of the scene is occupied not by the apostles but instead by secondary characters, such as a woman carrying a dish and the servants taking the dishes from the table. The table at which the apostles sit recedes into space on a steep diagonal. Furthermore, Tintoretto's painting features a more personal use of light, which appears to come into obscurity from both the light on the ceiling and from Jesus' aureola. A host of angels hover above the scene.Tintoretto's Last Supper makes use of Mannerist devices in its complex and radically asymmetrical composition. In its dynamism and emphasis on the quotidian—the setting is similar to a Venetian inn—the painting points the way to the Baroque. "The ability of this dramatic scene to engage viewers was well in keeping with Counter-Reformation ideals and the Catholic Church's belief in the didactic nature of religious art."

File:Albrecht Dürer - The Last Supper - WGA7259.jpg


Fountain of Cybele

Prompt: Focus on Fountain of Cybele and explain the abstract.

The Fountain of Cybele (Spanish: Fuente de Cibeles, or simply, La Cibeles) is a neoclassical fountain in Madrid, Spain. It lies on the centre of the Plaza de Cibeles. The sculptural group in its centre represents Cybele, a Phrygian earth and fertility deity. It has become one of the icons of the city.

Category:Sculptures of classical mythology

Category:Buildings and structures in Jerónimos neighborhood, Madrid

Consejo Superior de Investigaciones Científicas


Fountain of Cybele

Prompt: Explain the abstract of this artwork, Fountain of Cybele.

The Fountain of Cybele (Spanish: Fuente de Cibeles, or simply, La Cibeles) is a neoclassical fountain in Madrid, Spain. It lies on the centre of the Plaza de Cibeles. The sculptural group in its centre represents Cybele, a Phrygian earth and fertility deity. It has become one of the icons of the city.

Category:Sculptures of classical mythology

Category:Buildings and structures in Jerónimos neighborhood, Madrid

Consejo Superior de Investigaciones Científicas


Fountain of Cybele

Prompt: How does Fountain of Cybele explain its abstract?

The Fountain of Cybele (Spanish: Fuente de Cibeles, or simply, La Cibeles) is a neoclassical fountain in Madrid, Spain. It lies on the centre of the Plaza de Cibeles. The sculptural group in its centre represents Cybele, a Phrygian earth and fertility deity. It has become one of the icons of the city.

Category:Sculptures of classical mythology

Category:Buildings and structures in Jerónimos neighborhood, Madrid

Consejo Superior de Investigaciones Científicas


Fountain of Cybele

Prompt: In Fountain of Cybele, how is the abstract discussed?

The Fountain of Cybele (Spanish: Fuente de Cibeles, or simply, La Cibeles) is a neoclassical fountain in Madrid, Spain. It lies on the centre of the Plaza de Cibeles. The sculptural group in its centre represents Cybele, a Phrygian earth and fertility deity. It has become one of the icons of the city.

Category:Sculptures of classical mythology

Category:Buildings and structures in Jerónimos neighborhood, Madrid

Consejo Superior de Investigaciones Científicas


Fountain of Cybele

Prompt: Focus on Fountain of Cybele and explain the History and description.

Designed and commissioned by Ventura Rodríguez in 1780, the sculptural group—made of white marble from Montesclaros— is a work by Francisco Gutiérrez (goddess) and Roberto Michel (the lions).Crowned by a mural crown, the goddess rides a chariot pulled by two lions, representing Atalanta and Hippomenes.It was moved to its current location and orientation in 1895.It has a maximum water capacity of 278 m3.The fountain is the site where Real Madrid's supporters and players gather to celebrate the team's trophies as well as partakers of the successes of the Spain national football team. The goddess lost a hand in 1994, following a celebration of a victory of the Spanish national team. The goddess lost again one of her hands on 21 September 2002.The Fountain of Cybele has a replica, the namesake Fuente de Cibeles, located in Mexico City and inaugurated in 1980.

Category:Sculptures of classical mythology

Category:Buildings and structures in Jerónimos neighborhood, Madrid

Consejo Superior de Investigaciones Científicas


Fountain of Cybele

Prompt: Explain the History and description of this artwork, Fountain of Cybele.

Designed and commissioned by Ventura Rodríguez in 1780, the sculptural group—made of white marble from Montesclaros— is a work by Francisco Gutiérrez (goddess) and Roberto Michel (the lions).Crowned by a mural crown, the goddess rides a chariot pulled by two lions, representing Atalanta and Hippomenes.It was moved to its current location and orientation in 1895.It has a maximum water capacity of 278 m3.The fountain is the site where Real Madrid's supporters and players gather to celebrate the team's trophies as well as partakers of the successes of the Spain national football team. The goddess lost a hand in 1994, following a celebration of a victory of the Spanish national team. The goddess lost again one of her hands on 21 September 2002.The Fountain of Cybele has a replica, the namesake Fuente de Cibeles, located in Mexico City and inaugurated in 1980.

Category:Sculptures of classical mythology

Category:Buildings and structures in Jerónimos neighborhood, Madrid

Consejo Superior de Investigaciones Científicas


Fountain of Cybele

Prompt: How does Fountain of Cybele explain its History and description?

Designed and commissioned by Ventura Rodríguez in 1780, the sculptural group—made of white marble from Montesclaros— is a work by Francisco Gutiérrez (goddess) and Roberto Michel (the lions).Crowned by a mural crown, the goddess rides a chariot pulled by two lions, representing Atalanta and Hippomenes.It was moved to its current location and orientation in 1895.It has a maximum water capacity of 278 m3.The fountain is the site where Real Madrid's supporters and players gather to celebrate the team's trophies as well as partakers of the successes of the Spain national football team. The goddess lost a hand in 1994, following a celebration of a victory of the Spanish national team. The goddess lost again one of her hands on 21 September 2002.The Fountain of Cybele has a replica, the namesake Fuente de Cibeles, located in Mexico City and inaugurated in 1980.

Category:Sculptures of classical mythology

Category:Buildings and structures in Jerónimos neighborhood, Madrid

Consejo Superior de Investigaciones Científicas


Fountain of Cybele

Prompt: In Fountain of Cybele, how is the History and description discussed?

Designed and commissioned by Ventura Rodríguez in 1780, the sculptural group—made of white marble from Montesclaros— is a work by Francisco Gutiérrez (goddess) and Roberto Michel (the lions).Crowned by a mural crown, the goddess rides a chariot pulled by two lions, representing Atalanta and Hippomenes.It was moved to its current location and orientation in 1895.It has a maximum water capacity of 278 m3.The fountain is the site where Real Madrid's supporters and players gather to celebrate the team's trophies as well as partakers of the successes of the Spain national football team. The goddess lost a hand in 1994, following a celebration of a victory of the Spanish national team. The goddess lost again one of her hands on 21 September 2002.The Fountain of Cybele has a replica, the namesake Fuente de Cibeles, located in Mexico City and inaugurated in 1980.

Category:Sculptures of classical mythology

Category:Buildings and structures in Jerónimos neighborhood, Madrid

Consejo Superior de Investigaciones Científicas


Simón Bolívar (Tadolini)

Prompt: Focus on Simón Bolívar (Tadolini) and explain the abstract.

Simon Bolivar, also known as General Bolivar, is a bronze equestrian statue of Simón Bolívar by Adamo Tadolini. There are three casts. The original is located in the Plaza Bolívar in Lima, the first copy is in the Plaza Bolívar in Caracas and the second copy is in United Nations Plaza in San Francisco, California.The statue in Lima, which was made in Italy in the 1850s, is the oldest of the three.  It was cast in Munich and the replica in Caracas was cast by the same foundry after the sculptor's death.The copy in San Francisco was engineered by Miriam Gandica Mora, cast by Victor Hugo Barrenchea-Villegas and dedicated in December 1984.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: Explain the abstract of this artwork, Simón Bolívar (Tadolini).

Simon Bolivar, also known as General Bolivar, is a bronze equestrian statue of Simón Bolívar by Adamo Tadolini. There are three casts. The original is located in the Plaza Bolívar in Lima, the first copy is in the Plaza Bolívar in Caracas and the second copy is in United Nations Plaza in San Francisco, California.The statue in Lima, which was made in Italy in the 1850s, is the oldest of the three.  It was cast in Munich and the replica in Caracas was cast by the same foundry after the sculptor's death.The copy in San Francisco was engineered by Miriam Gandica Mora, cast by Victor Hugo Barrenchea-Villegas and dedicated in December 1984.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: How does Simón Bolívar (Tadolini) explain its abstract?

Simon Bolivar, also known as General Bolivar, is a bronze equestrian statue of Simón Bolívar by Adamo Tadolini. There are three casts. The original is located in the Plaza Bolívar in Lima, the first copy is in the Plaza Bolívar in Caracas and the second copy is in United Nations Plaza in San Francisco, California.The statue in Lima, which was made in Italy in the 1850s, is the oldest of the three.  It was cast in Munich and the replica in Caracas was cast by the same foundry after the sculptor's death.The copy in San Francisco was engineered by Miriam Gandica Mora, cast by Victor Hugo Barrenchea-Villegas and dedicated in December 1984.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: In Simón Bolívar (Tadolini), how is the abstract discussed?

Simon Bolivar, also known as General Bolivar, is a bronze equestrian statue of Simón Bolívar by Adamo Tadolini. There are three casts. The original is located in the Plaza Bolívar in Lima, the first copy is in the Plaza Bolívar in Caracas and the second copy is in United Nations Plaza in San Francisco, California.The statue in Lima, which was made in Italy in the 1850s, is the oldest of the three.  It was cast in Munich and the replica in Caracas was cast by the same foundry after the sculptor's death.The copy in San Francisco was engineered by Miriam Gandica Mora, cast by Victor Hugo Barrenchea-Villegas and dedicated in December 1984.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: Focus on Simón Bolívar (Tadolini) and explain the Description.

Adamo Tadolini's sculpture depicts Simón Bolívar atop his rearing horse.  Bolívar is dressed in military attire, including a decorated coat and a flowing cape. Other accessories include tall boots, epaulets and a sash. He has a sheathed sword over his left thigh, and he holds his hat on the right side of his body.Tadolini was the pupil of the sculptor Canova, and is usually seen as working in the same neoclassical tradition.It has been suggested that the Bolívar statue was inspired by Jacques Louis David's famous painting of Napoleon Crossing the Alps. One problem Tadolini had to face, unlike the painter, was of statics: representing the horse with raised legs could cause stability problems due to the excessive weight of the bronze being supported by two legs and a tail. The Bronze Horseman by Étienne Maurice Falconet, which overcomes a similar problem, can also be seen as a forerunner of Tadolini's statue.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: Explain the Description of this artwork, Simón Bolívar (Tadolini).

Adamo Tadolini's sculpture depicts Simón Bolívar atop his rearing horse.  Bolívar is dressed in military attire, including a decorated coat and a flowing cape. Other accessories include tall boots, epaulets and a sash. He has a sheathed sword over his left thigh, and he holds his hat on the right side of his body.Tadolini was the pupil of the sculptor Canova, and is usually seen as working in the same neoclassical tradition.It has been suggested that the Bolívar statue was inspired by Jacques Louis David's famous painting of Napoleon Crossing the Alps. One problem Tadolini had to face, unlike the painter, was of statics: representing the horse with raised legs could cause stability problems due to the excessive weight of the bronze being supported by two legs and a tail. The Bronze Horseman by Étienne Maurice Falconet, which overcomes a similar problem, can also be seen as a forerunner of Tadolini's statue.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: How does Simón Bolívar (Tadolini) explain its Description?

Adamo Tadolini's sculpture depicts Simón Bolívar atop his rearing horse.  Bolívar is dressed in military attire, including a decorated coat and a flowing cape. Other accessories include tall boots, epaulets and a sash. He has a sheathed sword over his left thigh, and he holds his hat on the right side of his body.Tadolini was the pupil of the sculptor Canova, and is usually seen as working in the same neoclassical tradition.It has been suggested that the Bolívar statue was inspired by Jacques Louis David's famous painting of Napoleon Crossing the Alps. One problem Tadolini had to face, unlike the painter, was of statics: representing the horse with raised legs could cause stability problems due to the excessive weight of the bronze being supported by two legs and a tail. The Bronze Horseman by Étienne Maurice Falconet, which overcomes a similar problem, can also be seen as a forerunner of Tadolini's statue.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: In Simón Bolívar (Tadolini), how is the Description discussed?

Adamo Tadolini's sculpture depicts Simón Bolívar atop his rearing horse.  Bolívar is dressed in military attire, including a decorated coat and a flowing cape. Other accessories include tall boots, epaulets and a sash. He has a sheathed sword over his left thigh, and he holds his hat on the right side of his body.Tadolini was the pupil of the sculptor Canova, and is usually seen as working in the same neoclassical tradition.It has been suggested that the Bolívar statue was inspired by Jacques Louis David's famous painting of Napoleon Crossing the Alps. One problem Tadolini had to face, unlike the painter, was of statics: representing the horse with raised legs could cause stability problems due to the excessive weight of the bronze being supported by two legs and a tail. The Bronze Horseman by Étienne Maurice Falconet, which overcomes a similar problem, can also be seen as a forerunner of Tadolini's statue.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: In the context of Simón Bolívar (Tadolini), explain the Lima and the Locations.

The statue was sculpted in Rome and cast in Munich.The pedestal was completed in marble in Rome.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: Explain the Lima about the Locations of this artwork, Simón Bolívar (Tadolini).

The statue was sculpted in Rome and cast in Munich.The pedestal was completed in marble in Rome.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: In Simón Bolívar (Tadolini), how is the Lima of the Locations explained?

The statue was sculpted in Rome and cast in Munich.The pedestal was completed in marble in Rome.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: Describe the characteristics of the Lima in Simón Bolívar (Tadolini)'s Locations.

The statue was sculpted in Rome and cast in Munich.The pedestal was completed in marble in Rome.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: In the context of Simón Bolívar (Tadolini), explain the Caracas and the Locations.

On 7 November 1874, the statue was inaugurated in the center of the Plaza Bolívar with the ringing of bells and a 21 gun salute.The Venezuelan president at the time, Antonio Guzmán Blanco, was an admirer of Bolívar.  Among other measures he purchased Bolívar's birthplace (near the location of the statue) and adopted the bolívar, defined on the silver standard, as the country's currency.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: Explain the Caracas about the Locations of this artwork, Simón Bolívar (Tadolini).

On 7 November 1874, the statue was inaugurated in the center of the Plaza Bolívar with the ringing of bells and a 21 gun salute.The Venezuelan president at the time, Antonio Guzmán Blanco, was an admirer of Bolívar.  Among other measures he purchased Bolívar's birthplace (near the location of the statue) and adopted the bolívar, defined on the silver standard, as the country's currency.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: In Simón Bolívar (Tadolini), how is the Caracas of the Locations explained?

On 7 November 1874, the statue was inaugurated in the center of the Plaza Bolívar with the ringing of bells and a 21 gun salute.The Venezuelan president at the time, Antonio Guzmán Blanco, was an admirer of Bolívar.  Among other measures he purchased Bolívar's birthplace (near the location of the statue) and adopted the bolívar, defined on the silver standard, as the country's currency.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: Describe the characteristics of the Caracas in Simón Bolívar (Tadolini)'s Locations.

On 7 November 1874, the statue was inaugurated in the center of the Plaza Bolívar with the ringing of bells and a 21 gun salute.The Venezuelan president at the time, Antonio Guzmán Blanco, was an admirer of Bolívar.  Among other measures he purchased Bolívar's birthplace (near the location of the statue) and adopted the bolívar, defined on the silver standard, as the country's currency.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: In the context of Simón Bolívar (Tadolini), explain the San Francisco and the Locations.

The San Francisco copy was engineered by Miriam Gandica Mora and cast by Victor Hugo Barrenchea-Villegas. It was dedicated on 6 December 1984. Located at United Nations Plaza at the intersection of Hyde Street and Fulton Street, the sculpture is administered by the City and County of San Francisco and the San Francisco Arts Commission. The statue was surveyed by the Smithsonian Institution's Save Outdoor Sculpture! program in 1992.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: Explain the San Francisco about the Locations of this artwork, Simón Bolívar (Tadolini).

The San Francisco copy was engineered by Miriam Gandica Mora and cast by Victor Hugo Barrenchea-Villegas. It was dedicated on 6 December 1984. Located at United Nations Plaza at the intersection of Hyde Street and Fulton Street, the sculpture is administered by the City and County of San Francisco and the San Francisco Arts Commission. The statue was surveyed by the Smithsonian Institution's Save Outdoor Sculpture! program in 1992.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: In Simón Bolívar (Tadolini), how is the San Francisco of the Locations explained?

The San Francisco copy was engineered by Miriam Gandica Mora and cast by Victor Hugo Barrenchea-Villegas. It was dedicated on 6 December 1984. Located at United Nations Plaza at the intersection of Hyde Street and Fulton Street, the sculpture is administered by the City and County of San Francisco and the San Francisco Arts Commission. The statue was surveyed by the Smithsonian Institution's Save Outdoor Sculpture! program in 1992.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


Simón Bolívar (Tadolini)

Prompt: Describe the characteristics of the San Francisco in Simón Bolívar (Tadolini)'s Locations.

The San Francisco copy was engineered by Miriam Gandica Mora and cast by Victor Hugo Barrenchea-Villegas. It was dedicated on 6 December 1984. Located at United Nations Plaza at the intersection of Hyde Street and Fulton Street, the sculpture is administered by the City and County of San Francisco and the San Francisco Arts Commission. The statue was surveyed by the Smithsonian Institution's Save Outdoor Sculpture! program in 1992.

List of places and things named after Simón Bolivar

Category:1984 establishments in California

Category:Outdoor sculptures in Venezuela

Category:Bronze sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Equestrian statues in California

Category:Equestrian statues in Venezuela

File:Simon Bolivar statue in San Francisco (2013) - 2.JPG


The Storm at Sea

Prompt: Focus on The Storm at Sea and explain the abstract.

Storm at Sea is an oil painting on panel by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in c. 1569. It is in the Kunsthistorisches Museum in Vienna.

File:Pieter Bruegel the Elder - Seascape with a View of Antwerp - WGA03532.jpg

''Seascape with a view of Antwerp'', pen and brown ink drawing by Bruegel, in the [[Courtauld Institute of Art

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Storm at Sea

Prompt: Explain the abstract of this artwork, The Storm at Sea.

Storm at Sea is an oil painting on panel by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in c. 1569. It is in the Kunsthistorisches Museum in Vienna.

File:Pieter Bruegel the Elder - Seascape with a View of Antwerp - WGA03532.jpg

''Seascape with a view of Antwerp'', pen and brown ink drawing by Bruegel, in the [[Courtauld Institute of Art

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Storm at Sea

Prompt: How does The Storm at Sea explain its abstract?

Storm at Sea is an oil painting on panel by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in c. 1569. It is in the Kunsthistorisches Museum in Vienna.

File:Pieter Bruegel the Elder - Seascape with a View of Antwerp - WGA03532.jpg

''Seascape with a view of Antwerp'', pen and brown ink drawing by Bruegel, in the [[Courtauld Institute of Art

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Storm at Sea

Prompt: In The Storm at Sea, how is the abstract discussed?

Storm at Sea is an oil painting on panel by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in c. 1569. It is in the Kunsthistorisches Museum in Vienna.

File:Pieter Bruegel the Elder - Seascape with a View of Antwerp - WGA03532.jpg

''Seascape with a view of Antwerp'', pen and brown ink drawing by Bruegel, in the [[Courtauld Institute of Art

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Storm at Sea

Prompt: Focus on The Storm at Sea and explain the Description.

In the past doubts have been raised about the attribution of this painting to Bruegel: the name of Joos de Momper, a landscape painter who became a master in the Antwerp guild in 1581, has been mentioned. However, not only is this painting superior to any by de Momper; its similarity to a drawing by Bruegel (in the Courtauld Institute of Art) and its originality of composition and delicacy of execution have made it generally accepted as a late work by Bruegel, possibly left unfinished at his death.The prominence of the barrel and the whale has led the painting to be associated with the contemporary saying:If the whale plays with the barrel that has been thrown to him and gives the ship time to escape, then he represents the man who misses the true good for the sake of futile trifles. This sense would be underscored by the church outlined against the horizon, which stands for safety amid the storms of life.

File:Pieter Bruegel the Elder - Seascape with a View of Antwerp - WGA03532.jpg

''Seascape with a view of Antwerp'', pen and brown ink drawing by Bruegel, in the [[Courtauld Institute of Art

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Storm at Sea

Prompt: Explain the Description of this artwork, The Storm at Sea.

In the past doubts have been raised about the attribution of this painting to Bruegel: the name of Joos de Momper, a landscape painter who became a master in the Antwerp guild in 1581, has been mentioned. However, not only is this painting superior to any by de Momper; its similarity to a drawing by Bruegel (in the Courtauld Institute of Art) and its originality of composition and delicacy of execution have made it generally accepted as a late work by Bruegel, possibly left unfinished at his death.The prominence of the barrel and the whale has led the painting to be associated with the contemporary saying:If the whale plays with the barrel that has been thrown to him and gives the ship time to escape, then he represents the man who misses the true good for the sake of futile trifles. This sense would be underscored by the church outlined against the horizon, which stands for safety amid the storms of life.

File:Pieter Bruegel the Elder - Seascape with a View of Antwerp - WGA03532.jpg

''Seascape with a view of Antwerp'', pen and brown ink drawing by Bruegel, in the [[Courtauld Institute of Art

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Storm at Sea

Prompt: How does The Storm at Sea explain its Description?

In the past doubts have been raised about the attribution of this painting to Bruegel: the name of Joos de Momper, a landscape painter who became a master in the Antwerp guild in 1581, has been mentioned. However, not only is this painting superior to any by de Momper; its similarity to a drawing by Bruegel (in the Courtauld Institute of Art) and its originality of composition and delicacy of execution have made it generally accepted as a late work by Bruegel, possibly left unfinished at his death.The prominence of the barrel and the whale has led the painting to be associated with the contemporary saying:If the whale plays with the barrel that has been thrown to him and gives the ship time to escape, then he represents the man who misses the true good for the sake of futile trifles. This sense would be underscored by the church outlined against the horizon, which stands for safety amid the storms of life.

File:Pieter Bruegel the Elder - Seascape with a View of Antwerp - WGA03532.jpg

''Seascape with a view of Antwerp'', pen and brown ink drawing by Bruegel, in the [[Courtauld Institute of Art

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Storm at Sea

Prompt: In The Storm at Sea, how is the Description discussed?

In the past doubts have been raised about the attribution of this painting to Bruegel: the name of Joos de Momper, a landscape painter who became a master in the Antwerp guild in 1581, has been mentioned. However, not only is this painting superior to any by de Momper; its similarity to a drawing by Bruegel (in the Courtauld Institute of Art) and its originality of composition and delicacy of execution have made it generally accepted as a late work by Bruegel, possibly left unfinished at his death.The prominence of the barrel and the whale has led the painting to be associated with the contemporary saying:If the whale plays with the barrel that has been thrown to him and gives the ship time to escape, then he represents the man who misses the true good for the sake of futile trifles. This sense would be underscored by the church outlined against the horizon, which stands for safety amid the storms of life.

File:Pieter Bruegel the Elder - Seascape with a View of Antwerp - WGA03532.jpg

''Seascape with a view of Antwerp'', pen and brown ink drawing by Bruegel, in the [[Courtauld Institute of Art

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Messenger (David Wynne sculpture)

Prompt: Focus on The Messenger (David Wynne sculpture) and explain the abstract.

The Messenger is a statue by the English sculptor David Wynne, OBE of a horse and rider. It was installed in the town centre of Sutton in Greater London, England in 1981.

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


The Messenger (David Wynne sculpture)

Prompt: Explain the abstract of this artwork, The Messenger (David Wynne sculpture).

The Messenger is a statue by the English sculptor David Wynne, OBE of a horse and rider. It was installed in the town centre of Sutton in Greater London, England in 1981.

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


The Messenger (David Wynne sculpture)

Prompt: How does The Messenger (David Wynne sculpture) explain its abstract?

The Messenger is a statue by the English sculptor David Wynne, OBE of a horse and rider. It was installed in the town centre of Sutton in Greater London, England in 1981.

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


The Messenger (David Wynne sculpture)

Prompt: In The Messenger (David Wynne sculpture), how is the abstract discussed?

The Messenger is a statue by the English sculptor David Wynne, OBE of a horse and rider. It was installed in the town centre of Sutton in Greater London, England in 1981.

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


The Messenger (David Wynne sculpture)

Prompt: Focus on The Messenger (David Wynne sculpture) and explain the Appearance.

The statue features a horse and nude young male rider, created in bronze with very dark patination. It is located directly outside the main entrance to Quadrant House (in the Quadrant), adjacent to Sutton railway station. The horse, with a slightly raised left leg, looks towards the station. The boy-rider, seated bareback, raises his left hand in the air above his head and his right hand to his mouth, as if calling out. It is fully life-size and mounted on a 7-foot plinth of marble and granite slabs. The total height is 150 inches.

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


The Messenger (David Wynne sculpture)

Prompt: Explain the Appearance of this artwork, The Messenger (David Wynne sculpture).

The statue features a horse and nude young male rider, created in bronze with very dark patination. It is located directly outside the main entrance to Quadrant House (in the Quadrant), adjacent to Sutton railway station. The horse, with a slightly raised left leg, looks towards the station. The boy-rider, seated bareback, raises his left hand in the air above his head and his right hand to his mouth, as if calling out. It is fully life-size and mounted on a 7-foot plinth of marble and granite slabs. The total height is 150 inches.

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


The Messenger (David Wynne sculpture)

Prompt: How does The Messenger (David Wynne sculpture) explain its Appearance?

The statue features a horse and nude young male rider, created in bronze with very dark patination. It is located directly outside the main entrance to Quadrant House (in the Quadrant), adjacent to Sutton railway station. The horse, with a slightly raised left leg, looks towards the station. The boy-rider, seated bareback, raises his left hand in the air above his head and his right hand to his mouth, as if calling out. It is fully life-size and mounted on a 7-foot plinth of marble and granite slabs. The total height is 150 inches.

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


The Messenger (David Wynne sculpture)

Prompt: In The Messenger (David Wynne sculpture), how is the Appearance discussed?

The statue features a horse and nude young male rider, created in bronze with very dark patination. It is located directly outside the main entrance to Quadrant House (in the Quadrant), adjacent to Sutton railway station. The horse, with a slightly raised left leg, looks towards the station. The boy-rider, seated bareback, raises his left hand in the air above his head and his right hand to his mouth, as if calling out. It is fully life-size and mounted on a 7-foot plinth of marble and granite slabs. The total height is 150 inches.

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


The Messenger (David Wynne sculpture)

Prompt: Focus on The Messenger (David Wynne sculpture) and explain the Development.

The statue was commissioned by the then Business Press International Ltd, and upkeep of the work now falls to Reed Business Information, who occupy Quadrant House. It was a major commission for Wynne, which took four years from his first idea and inspiration on receipt of the brief through roughing out, refining and foundry to the final unveiling and installation. The brief given to him by the company was to illustrate the fundamental business of the company, namely communication, but to convey the idea, rather than simply to represent the work of the company in a direct or very obvious way.Wynne had to consider what actual form the sculpture would take to best capture the idea of communication. When inspiration came to him, it did so "like a flash of light, complete", as he put it:A tall wise horse that had never known a bridle, a magic horse if you like, poised, one foot pointing to the centre of the earth; head up, nostrils flared, about to whip round and plunge away. On his back a carefree boy, wild as the horse, calling out to his friends, who have forgotten that they too are heirs to his kingdom.As part of his preparation, Wynne visited Italy to see the Equestrian Statue of Marcus Aurelius in Rome and the Horses of Saint Mark in Venice.In his introductory essay in the book The Messenger, Lucius Noël notes Wynne's dislike for statues where the horse is shown as merely the support for the rider. Noël notes the way that Wynne highlights the interrelationship between horse and rider in the work, as he did in his previous two horse and rider sculptures. While noting the greater reality in the work than its two equestrian predecessors, he stresses the strong symbolism in the work. He writes:The rider, a young man, is giving his message to his audience, and seems to be saying that there is another world that all should know about. But the horse is just as important as the man. His is, in fact, more conscious than the man, and has his feet firmly planted on the ground, one hoof pointing to the centre of the earth. They are a team, and the overall impression is that each needs the other: man needs the horse, as much as the horse needs man.Noël notes how this analysis ties in with Wynne's wider views about animals, saying "We must share the Earth with the animals, who have as much right to it as we do. To find a way to live in peace with the animals is our duty.".

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


The Messenger (David Wynne sculpture)

Prompt: Explain the Development of this artwork, The Messenger (David Wynne sculpture).

The statue was commissioned by the then Business Press International Ltd, and upkeep of the work now falls to Reed Business Information, who occupy Quadrant House. It was a major commission for Wynne, which took four years from his first idea and inspiration on receipt of the brief through roughing out, refining and foundry to the final unveiling and installation. The brief given to him by the company was to illustrate the fundamental business of the company, namely communication, but to convey the idea, rather than simply to represent the work of the company in a direct or very obvious way.Wynne had to consider what actual form the sculpture would take to best capture the idea of communication. When inspiration came to him, it did so "like a flash of light, complete", as he put it:A tall wise horse that had never known a bridle, a magic horse if you like, poised, one foot pointing to the centre of the earth; head up, nostrils flared, about to whip round and plunge away. On his back a carefree boy, wild as the horse, calling out to his friends, who have forgotten that they too are heirs to his kingdom.As part of his preparation, Wynne visited Italy to see the Equestrian Statue of Marcus Aurelius in Rome and the Horses of Saint Mark in Venice.In his introductory essay in the book The Messenger, Lucius Noël notes Wynne's dislike for statues where the horse is shown as merely the support for the rider. Noël notes the way that Wynne highlights the interrelationship between horse and rider in the work, as he did in his previous two horse and rider sculptures. While noting the greater reality in the work than its two equestrian predecessors, he stresses the strong symbolism in the work. He writes:The rider, a young man, is giving his message to his audience, and seems to be saying that there is another world that all should know about. But the horse is just as important as the man. His is, in fact, more conscious than the man, and has his feet firmly planted on the ground, one hoof pointing to the centre of the earth. They are a team, and the overall impression is that each needs the other: man needs the horse, as much as the horse needs man.Noël notes how this analysis ties in with Wynne's wider views about animals, saying "We must share the Earth with the animals, who have as much right to it as we do. To find a way to live in peace with the animals is our duty.".

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


The Messenger (David Wynne sculpture)

Prompt: How does The Messenger (David Wynne sculpture) explain its Development?

The statue was commissioned by the then Business Press International Ltd, and upkeep of the work now falls to Reed Business Information, who occupy Quadrant House. It was a major commission for Wynne, which took four years from his first idea and inspiration on receipt of the brief through roughing out, refining and foundry to the final unveiling and installation. The brief given to him by the company was to illustrate the fundamental business of the company, namely communication, but to convey the idea, rather than simply to represent the work of the company in a direct or very obvious way.Wynne had to consider what actual form the sculpture would take to best capture the idea of communication. When inspiration came to him, it did so "like a flash of light, complete", as he put it:A tall wise horse that had never known a bridle, a magic horse if you like, poised, one foot pointing to the centre of the earth; head up, nostrils flared, about to whip round and plunge away. On his back a carefree boy, wild as the horse, calling out to his friends, who have forgotten that they too are heirs to his kingdom.As part of his preparation, Wynne visited Italy to see the Equestrian Statue of Marcus Aurelius in Rome and the Horses of Saint Mark in Venice.In his introductory essay in the book The Messenger, Lucius Noël notes Wynne's dislike for statues where the horse is shown as merely the support for the rider. Noël notes the way that Wynne highlights the interrelationship between horse and rider in the work, as he did in his previous two horse and rider sculptures. While noting the greater reality in the work than its two equestrian predecessors, he stresses the strong symbolism in the work. He writes:The rider, a young man, is giving his message to his audience, and seems to be saying that there is another world that all should know about. But the horse is just as important as the man. His is, in fact, more conscious than the man, and has his feet firmly planted on the ground, one hoof pointing to the centre of the earth. They are a team, and the overall impression is that each needs the other: man needs the horse, as much as the horse needs man.Noël notes how this analysis ties in with Wynne's wider views about animals, saying "We must share the Earth with the animals, who have as much right to it as we do. To find a way to live in peace with the animals is our duty.".

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


The Messenger (David Wynne sculpture)

Prompt: In The Messenger (David Wynne sculpture), how is the Development discussed?

The statue was commissioned by the then Business Press International Ltd, and upkeep of the work now falls to Reed Business Information, who occupy Quadrant House. It was a major commission for Wynne, which took four years from his first idea and inspiration on receipt of the brief through roughing out, refining and foundry to the final unveiling and installation. The brief given to him by the company was to illustrate the fundamental business of the company, namely communication, but to convey the idea, rather than simply to represent the work of the company in a direct or very obvious way.Wynne had to consider what actual form the sculpture would take to best capture the idea of communication. When inspiration came to him, it did so "like a flash of light, complete", as he put it:A tall wise horse that had never known a bridle, a magic horse if you like, poised, one foot pointing to the centre of the earth; head up, nostrils flared, about to whip round and plunge away. On his back a carefree boy, wild as the horse, calling out to his friends, who have forgotten that they too are heirs to his kingdom.As part of his preparation, Wynne visited Italy to see the Equestrian Statue of Marcus Aurelius in Rome and the Horses of Saint Mark in Venice.In his introductory essay in the book The Messenger, Lucius Noël notes Wynne's dislike for statues where the horse is shown as merely the support for the rider. Noël notes the way that Wynne highlights the interrelationship between horse and rider in the work, as he did in his previous two horse and rider sculptures. While noting the greater reality in the work than its two equestrian predecessors, he stresses the strong symbolism in the work. He writes:The rider, a young man, is giving his message to his audience, and seems to be saying that there is another world that all should know about. But the horse is just as important as the man. His is, in fact, more conscious than the man, and has his feet firmly planted on the ground, one hoof pointing to the centre of the earth. They are a team, and the overall impression is that each needs the other: man needs the horse, as much as the horse needs man.Noël notes how this analysis ties in with Wynne's wider views about animals, saying "We must share the Earth with the animals, who have as much right to it as we do. To find a way to live in peace with the animals is our duty.".

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


The Messenger (David Wynne sculpture)

Prompt: Focus on The Messenger (David Wynne sculpture) and explain the Location.

The company had initially considered that the work should be installed high up, above the entrance lobby. However, Wynne advised against this, feeling that the distance created would militate against the engagement he wanted people to have with the work. It would be perceived as two-dimensional, depriving people of the full three-dimensions they would feel by walking around it.  So the statue was installed at ground level in front of the entrance to the building, enabling people to get close up to it.Describing his thoughts moments before the unveiling, David Wynne wrote in his 1982 book The Messenger:It is a proud moment for the sculptor when he sees a crowd of expectant and rather puzzled people gazing at an ungainly shrouded shape in the most prominent position outside a gleaming new building. Will they be surprised, pleased, disappointed or even appalled when the cover comes off?  Too late to change it now!

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


The Messenger (David Wynne sculpture)

Prompt: Explain the Location of this artwork, The Messenger (David Wynne sculpture).

The company had initially considered that the work should be installed high up, above the entrance lobby. However, Wynne advised against this, feeling that the distance created would militate against the engagement he wanted people to have with the work. It would be perceived as two-dimensional, depriving people of the full three-dimensions they would feel by walking around it.  So the statue was installed at ground level in front of the entrance to the building, enabling people to get close up to it.Describing his thoughts moments before the unveiling, David Wynne wrote in his 1982 book The Messenger:It is a proud moment for the sculptor when he sees a crowd of expectant and rather puzzled people gazing at an ungainly shrouded shape in the most prominent position outside a gleaming new building. Will they be surprised, pleased, disappointed or even appalled when the cover comes off?  Too late to change it now!

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


The Messenger (David Wynne sculpture)

Prompt: How does The Messenger (David Wynne sculpture) explain its Location?

The company had initially considered that the work should be installed high up, above the entrance lobby. However, Wynne advised against this, feeling that the distance created would militate against the engagement he wanted people to have with the work. It would be perceived as two-dimensional, depriving people of the full three-dimensions they would feel by walking around it.  So the statue was installed at ground level in front of the entrance to the building, enabling people to get close up to it.Describing his thoughts moments before the unveiling, David Wynne wrote in his 1982 book The Messenger:It is a proud moment for the sculptor when he sees a crowd of expectant and rather puzzled people gazing at an ungainly shrouded shape in the most prominent position outside a gleaming new building. Will they be surprised, pleased, disappointed or even appalled when the cover comes off?  Too late to change it now!

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


The Messenger (David Wynne sculpture)

Prompt: In The Messenger (David Wynne sculpture), how is the Location discussed?

The company had initially considered that the work should be installed high up, above the entrance lobby. However, Wynne advised against this, feeling that the distance created would militate against the engagement he wanted people to have with the work. It would be perceived as two-dimensional, depriving people of the full three-dimensions they would feel by walking around it.  So the statue was installed at ground level in front of the entrance to the building, enabling people to get close up to it.Describing his thoughts moments before the unveiling, David Wynne wrote in his 1982 book The Messenger:It is a proud moment for the sculptor when he sees a crowd of expectant and rather puzzled people gazing at an ungainly shrouded shape in the most prominent position outside a gleaming new building. Will they be surprised, pleased, disappointed or even appalled when the cover comes off?  Too late to change it now!

File:The Messenger, Quadrant House, Sutton, London (geograph 4002612).jpg

Category:Tourist attractions in the London Borough of Sutton

File:David Wynne The Messenger 5 Sutton Surrey London.JPG

Category:Equestrian statues in the United Kingdom

View of the statue showing the rider calling out

Category:Sculptures of men in the United Kingdom


Frederick Douglass Memorial

Prompt: Focus on Frederick Douglass Memorial and explain the abstract.

The Frederick Douglass Memorial is a memorial commemorating Frederick Douglass, installed at the northwest corner of New York City's Central Park, in the U.S. state of New York. The memorial includes an 8-foot bronze sculpture depicting Douglass by Gabriel Koren and a large circle and fountain designed by Algernon Miller. Additionally, Quennell Rothschild & Partners is credited as the memorial's architecture, and Polich-Tallix served as the foundry. The memorial was dedicated on September 20, 2011, and was funded by the Percent for Art program and the, New York City Department of Cultural Affairs.

Category:Sculptures of African Americans

Category:Cultural depictions of Frederick Douglass

Category:Monuments and memorials in Manhattan

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

Category:2011 establishments in New York City

Frederick Douglass National Historic Site

New York City Department of Parks & Recreation

Category:Bronze sculptures in Central Park


Frederick Douglass Memorial

Prompt: Explain the abstract of this artwork, Frederick Douglass Memorial.

The Frederick Douglass Memorial is a memorial commemorating Frederick Douglass, installed at the northwest corner of New York City's Central Park, in the U.S. state of New York. The memorial includes an 8-foot bronze sculpture depicting Douglass by Gabriel Koren and a large circle and fountain designed by Algernon Miller. Additionally, Quennell Rothschild & Partners is credited as the memorial's architecture, and Polich-Tallix served as the foundry. The memorial was dedicated on September 20, 2011, and was funded by the Percent for Art program and the, New York City Department of Cultural Affairs.

Category:Sculptures of African Americans

Category:Cultural depictions of Frederick Douglass

Category:Monuments and memorials in Manhattan

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

Category:2011 establishments in New York City

Frederick Douglass National Historic Site

New York City Department of Parks & Recreation

Category:Bronze sculptures in Central Park


Frederick Douglass Memorial

Prompt: How does Frederick Douglass Memorial explain its abstract?

The Frederick Douglass Memorial is a memorial commemorating Frederick Douglass, installed at the northwest corner of New York City's Central Park, in the U.S. state of New York. The memorial includes an 8-foot bronze sculpture depicting Douglass by Gabriel Koren and a large circle and fountain designed by Algernon Miller. Additionally, Quennell Rothschild & Partners is credited as the memorial's architecture, and Polich-Tallix served as the foundry. The memorial was dedicated on September 20, 2011, and was funded by the Percent for Art program and the, New York City Department of Cultural Affairs.

Category:Sculptures of African Americans

Category:Cultural depictions of Frederick Douglass

Category:Monuments and memorials in Manhattan

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

Category:2011 establishments in New York City

Frederick Douglass National Historic Site

New York City Department of Parks & Recreation

Category:Bronze sculptures in Central Park


Frederick Douglass Memorial

Prompt: In Frederick Douglass Memorial, how is the abstract discussed?

The Frederick Douglass Memorial is a memorial commemorating Frederick Douglass, installed at the northwest corner of New York City's Central Park, in the U.S. state of New York. The memorial includes an 8-foot bronze sculpture depicting Douglass by Gabriel Koren and a large circle and fountain designed by Algernon Miller. Additionally, Quennell Rothschild & Partners is credited as the memorial's architecture, and Polich-Tallix served as the foundry. The memorial was dedicated on September 20, 2011, and was funded by the Percent for Art program and the, New York City Department of Cultural Affairs.

Category:Sculptures of African Americans

Category:Cultural depictions of Frederick Douglass

Category:Monuments and memorials in Manhattan

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

Category:2011 establishments in New York City

Frederick Douglass National Historic Site

New York City Department of Parks & Recreation

Category:Bronze sculptures in Central Park


The Sieve of Eratosthenes (sculpture)

Prompt: Focus on The Sieve of Eratosthenes (sculpture) and explain the abstract.

The Sieve of Eratosthenes is a 1999 sculpture by Mark di Suvero, installed on the Stanford University campus in Stanford, California.

Category:Outdoor sculptures in California

Category:Stanford University buildings and structures

Category:1999 establishments in California


The Sieve of Eratosthenes (sculpture)

Prompt: Explain the abstract of this artwork, The Sieve of Eratosthenes (sculpture).

The Sieve of Eratosthenes is a 1999 sculpture by Mark di Suvero, installed on the Stanford University campus in Stanford, California.

Category:Outdoor sculptures in California

Category:Stanford University buildings and structures

Category:1999 establishments in California


The Sieve of Eratosthenes (sculpture)

Prompt: How does The Sieve of Eratosthenes (sculpture) explain its abstract?

The Sieve of Eratosthenes is a 1999 sculpture by Mark di Suvero, installed on the Stanford University campus in Stanford, California.

Category:Outdoor sculptures in California

Category:Stanford University buildings and structures

Category:1999 establishments in California


The Sieve of Eratosthenes (sculpture)

Prompt: In The Sieve of Eratosthenes (sculpture), how is the abstract discussed?

The Sieve of Eratosthenes is a 1999 sculpture by Mark di Suvero, installed on the Stanford University campus in Stanford, California.

Category:Outdoor sculptures in California

Category:Stanford University buildings and structures

Category:1999 establishments in California


The Sieve of Eratosthenes (sculpture)

Prompt: Focus on The Sieve of Eratosthenes (sculpture) and explain the History.

The artwork was added to Stanford's collection in 2000. It was dedicated to John Henry Merryman on his 80th birthday.In 2014, the 23-foot (7.0 m) sculpture was relocated from outside the Cantor Arts Center to the lawn between Escondido and Meyer Library.

Category:Outdoor sculptures in California

Category:Stanford University buildings and structures

Category:1999 establishments in California


The Sieve of Eratosthenes (sculpture)

Prompt: Explain the History of this artwork, The Sieve of Eratosthenes (sculpture).

The artwork was added to Stanford's collection in 2000. It was dedicated to John Henry Merryman on his 80th birthday.In 2014, the 23-foot (7.0 m) sculpture was relocated from outside the Cantor Arts Center to the lawn between Escondido and Meyer Library.

Category:Outdoor sculptures in California

Category:Stanford University buildings and structures

Category:1999 establishments in California


The Sieve of Eratosthenes (sculpture)

Prompt: How does The Sieve of Eratosthenes (sculpture) explain its History?

The artwork was added to Stanford's collection in 2000. It was dedicated to John Henry Merryman on his 80th birthday.In 2014, the 23-foot (7.0 m) sculpture was relocated from outside the Cantor Arts Center to the lawn between Escondido and Meyer Library.

Category:Outdoor sculptures in California

Category:Stanford University buildings and structures

Category:1999 establishments in California


The Sieve of Eratosthenes (sculpture)

Prompt: In The Sieve of Eratosthenes (sculpture), how is the History discussed?

The artwork was added to Stanford's collection in 2000. It was dedicated to John Henry Merryman on his 80th birthday.In 2014, the 23-foot (7.0 m) sculpture was relocated from outside the Cantor Arts Center to the lawn between Escondido and Meyer Library.

Category:Outdoor sculptures in California

Category:Stanford University buildings and structures

Category:1999 establishments in California


Lost portrait of Charles Edward Stuart

Prompt: Focus on Lost portrait of Charles Edward Stuart and explain the abstract.

The "lost portrait" of Charles Edward Stuart is a portrait, painted in late autumn 1745 by Scottish artist Allan Ramsay, of Charles Edward Stuart, also known as the Young Pretender or Bonnie Prince Charlie.The painting was discovered by art dealer and art historian Bendor Grosvenor at Gosford House, the home of the Earl of Wemyss near Edinburgh, and was authenticated by the Ramsay authority Duncan Thomson, former Director of the Scottish National Portrait Gallery, where the painting is now held.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Lost portrait of Charles Edward Stuart

Prompt: Explain the abstract of this artwork, Lost portrait of Charles Edward Stuart.

The "lost portrait" of Charles Edward Stuart is a portrait, painted in late autumn 1745 by Scottish artist Allan Ramsay, of Charles Edward Stuart, also known as the Young Pretender or Bonnie Prince Charlie.The painting was discovered by art dealer and art historian Bendor Grosvenor at Gosford House, the home of the Earl of Wemyss near Edinburgh, and was authenticated by the Ramsay authority Duncan Thomson, former Director of the Scottish National Portrait Gallery, where the painting is now held.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Lost portrait of Charles Edward Stuart

Prompt: How does Lost portrait of Charles Edward Stuart explain its abstract?

The "lost portrait" of Charles Edward Stuart is a portrait, painted in late autumn 1745 by Scottish artist Allan Ramsay, of Charles Edward Stuart, also known as the Young Pretender or Bonnie Prince Charlie.The painting was discovered by art dealer and art historian Bendor Grosvenor at Gosford House, the home of the Earl of Wemyss near Edinburgh, and was authenticated by the Ramsay authority Duncan Thomson, former Director of the Scottish National Portrait Gallery, where the painting is now held.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Lost portrait of Charles Edward Stuart

Prompt: In Lost portrait of Charles Edward Stuart, how is the abstract discussed?

The "lost portrait" of Charles Edward Stuart is a portrait, painted in late autumn 1745 by Scottish artist Allan Ramsay, of Charles Edward Stuart, also known as the Young Pretender or Bonnie Prince Charlie.The painting was discovered by art dealer and art historian Bendor Grosvenor at Gosford House, the home of the Earl of Wemyss near Edinburgh, and was authenticated by the Ramsay authority Duncan Thomson, former Director of the Scottish National Portrait Gallery, where the painting is now held.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Lost portrait of Charles Edward Stuart

Prompt: Focus on Lost portrait of Charles Edward Stuart and explain the Background.

In 2009, Grosvenor revealed that the subject of the best-known portrait of Charles Edward Stuart, the 5-foot (1.5-metre) pastel by the French artist Maurice Quentin de La Tour that had been hanging in the Scottish National Portrait Gallery since 1994, was of Charles's younger brother Henry Benedict Stuart. This portrait had until then been widely reproduced and was "immortalised on countless tins of shortbread", as well as appearing in the entry for Charles in the Dictionary of National Biography and numerous book covers, postcards and souvenirs. Grosvenor said: "Bonnie Prince Charlie is one of my heroes, and I always felt bad about debunking what used to be his most famous portrait. So I'm delighted to have found the best possible replacement – a portrait painted from life on the eve of his invasion of England." Whilst attempting to find this replacement – an authentic painting of Charles from the period of the Jacobite rising of 1745 – Grosvenor discovered a letter in the Royal Archives from John Stuart, the valet to Charles, that instructed Ramsay to go to Holyrood Palace in Edinburgh to paint Charles's portrait:Sir, you are desired to come to the Palace of Holyroodhouse as soon as possible in order to take his Royal Highness’ picture. So I expect you’ll wait no further call. I am, your most humble servant, John Stuart, Holyrood House 26th of October 1745.He also found a black and white photograph of the Ramsay portrait in the records of the National Portrait Gallery in London, although the artist was not given as Ramsay. This painting was at Gosford House, the home of the Earl of Wemyss, where it had hung in increasing obscurity for 250 years in a gloomy corridor on the ground floor. The painting was known to be of Charles but it was not known that Ramsay was the artist. Ramsay authority Duncan Thomson, former director of the Scottish National Portrait Gallery, authenticated it as a work by Ramsay and said: "This portrait brings the prince back to life in a way I'd never thought imaginable. It's hard to overstate the importance of finding a portrait of the prince painted in Scotland, by a Scottish artist."On 30 March 2016, the Scottish National Portrait Gallery announced that the painting had been acquired for the nation through the acceptance in lieu scheme, with the painting being valued at greater than £1.1 million. It was placed on display at the Scottish National Portrait Gallery just before the 270th anniversary of the Battle of Culloden.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Lost portrait of Charles Edward Stuart

Prompt: Explain the Background of this artwork, Lost portrait of Charles Edward Stuart.

In 2009, Grosvenor revealed that the subject of the best-known portrait of Charles Edward Stuart, the 5-foot (1.5-metre) pastel by the French artist Maurice Quentin de La Tour that had been hanging in the Scottish National Portrait Gallery since 1994, was of Charles's younger brother Henry Benedict Stuart. This portrait had until then been widely reproduced and was "immortalised on countless tins of shortbread", as well as appearing in the entry for Charles in the Dictionary of National Biography and numerous book covers, postcards and souvenirs. Grosvenor said: "Bonnie Prince Charlie is one of my heroes, and I always felt bad about debunking what used to be his most famous portrait. So I'm delighted to have found the best possible replacement – a portrait painted from life on the eve of his invasion of England." Whilst attempting to find this replacement – an authentic painting of Charles from the period of the Jacobite rising of 1745 – Grosvenor discovered a letter in the Royal Archives from John Stuart, the valet to Charles, that instructed Ramsay to go to Holyrood Palace in Edinburgh to paint Charles's portrait:Sir, you are desired to come to the Palace of Holyroodhouse as soon as possible in order to take his Royal Highness’ picture. So I expect you’ll wait no further call. I am, your most humble servant, John Stuart, Holyrood House 26th of October 1745.He also found a black and white photograph of the Ramsay portrait in the records of the National Portrait Gallery in London, although the artist was not given as Ramsay. This painting was at Gosford House, the home of the Earl of Wemyss, where it had hung in increasing obscurity for 250 years in a gloomy corridor on the ground floor. The painting was known to be of Charles but it was not known that Ramsay was the artist. Ramsay authority Duncan Thomson, former director of the Scottish National Portrait Gallery, authenticated it as a work by Ramsay and said: "This portrait brings the prince back to life in a way I'd never thought imaginable. It's hard to overstate the importance of finding a portrait of the prince painted in Scotland, by a Scottish artist."On 30 March 2016, the Scottish National Portrait Gallery announced that the painting had been acquired for the nation through the acceptance in lieu scheme, with the painting being valued at greater than £1.1 million. It was placed on display at the Scottish National Portrait Gallery just before the 270th anniversary of the Battle of Culloden.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Lost portrait of Charles Edward Stuart

Prompt: How does Lost portrait of Charles Edward Stuart explain its Background?

In 2009, Grosvenor revealed that the subject of the best-known portrait of Charles Edward Stuart, the 5-foot (1.5-metre) pastel by the French artist Maurice Quentin de La Tour that had been hanging in the Scottish National Portrait Gallery since 1994, was of Charles's younger brother Henry Benedict Stuart. This portrait had until then been widely reproduced and was "immortalised on countless tins of shortbread", as well as appearing in the entry for Charles in the Dictionary of National Biography and numerous book covers, postcards and souvenirs. Grosvenor said: "Bonnie Prince Charlie is one of my heroes, and I always felt bad about debunking what used to be his most famous portrait. So I'm delighted to have found the best possible replacement – a portrait painted from life on the eve of his invasion of England." Whilst attempting to find this replacement – an authentic painting of Charles from the period of the Jacobite rising of 1745 – Grosvenor discovered a letter in the Royal Archives from John Stuart, the valet to Charles, that instructed Ramsay to go to Holyrood Palace in Edinburgh to paint Charles's portrait:Sir, you are desired to come to the Palace of Holyroodhouse as soon as possible in order to take his Royal Highness’ picture. So I expect you’ll wait no further call. I am, your most humble servant, John Stuart, Holyrood House 26th of October 1745.He also found a black and white photograph of the Ramsay portrait in the records of the National Portrait Gallery in London, although the artist was not given as Ramsay. This painting was at Gosford House, the home of the Earl of Wemyss, where it had hung in increasing obscurity for 250 years in a gloomy corridor on the ground floor. The painting was known to be of Charles but it was not known that Ramsay was the artist. Ramsay authority Duncan Thomson, former director of the Scottish National Portrait Gallery, authenticated it as a work by Ramsay and said: "This portrait brings the prince back to life in a way I'd never thought imaginable. It's hard to overstate the importance of finding a portrait of the prince painted in Scotland, by a Scottish artist."On 30 March 2016, the Scottish National Portrait Gallery announced that the painting had been acquired for the nation through the acceptance in lieu scheme, with the painting being valued at greater than £1.1 million. It was placed on display at the Scottish National Portrait Gallery just before the 270th anniversary of the Battle of Culloden.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Lost portrait of Charles Edward Stuart

Prompt: In Lost portrait of Charles Edward Stuart, how is the Background discussed?

In 2009, Grosvenor revealed that the subject of the best-known portrait of Charles Edward Stuart, the 5-foot (1.5-metre) pastel by the French artist Maurice Quentin de La Tour that had been hanging in the Scottish National Portrait Gallery since 1994, was of Charles's younger brother Henry Benedict Stuart. This portrait had until then been widely reproduced and was "immortalised on countless tins of shortbread", as well as appearing in the entry for Charles in the Dictionary of National Biography and numerous book covers, postcards and souvenirs. Grosvenor said: "Bonnie Prince Charlie is one of my heroes, and I always felt bad about debunking what used to be his most famous portrait. So I'm delighted to have found the best possible replacement – a portrait painted from life on the eve of his invasion of England." Whilst attempting to find this replacement – an authentic painting of Charles from the period of the Jacobite rising of 1745 – Grosvenor discovered a letter in the Royal Archives from John Stuart, the valet to Charles, that instructed Ramsay to go to Holyrood Palace in Edinburgh to paint Charles's portrait:Sir, you are desired to come to the Palace of Holyroodhouse as soon as possible in order to take his Royal Highness’ picture. So I expect you’ll wait no further call. I am, your most humble servant, John Stuart, Holyrood House 26th of October 1745.He also found a black and white photograph of the Ramsay portrait in the records of the National Portrait Gallery in London, although the artist was not given as Ramsay. This painting was at Gosford House, the home of the Earl of Wemyss, where it had hung in increasing obscurity for 250 years in a gloomy corridor on the ground floor. The painting was known to be of Charles but it was not known that Ramsay was the artist. Ramsay authority Duncan Thomson, former director of the Scottish National Portrait Gallery, authenticated it as a work by Ramsay and said: "This portrait brings the prince back to life in a way I'd never thought imaginable. It's hard to overstate the importance of finding a portrait of the prince painted in Scotland, by a Scottish artist."On 30 March 2016, the Scottish National Portrait Gallery announced that the painting had been acquired for the nation through the acceptance in lieu scheme, with the painting being valued at greater than £1.1 million. It was placed on display at the Scottish National Portrait Gallery just before the 270th anniversary of the Battle of Culloden.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Lost portrait of Charles Edward Stuart

Prompt: Focus on Lost portrait of Charles Edward Stuart and explain the Painting.

The small painting, 12 by 10 inches (30 by 25 centimetres), is the only one of Charles known to have been painted in Britain. The painting was intended to be taken to England and be both reproduced in engravings and used as the "basis for an official royal portrait" if the Jacobites succeeded in restoring the Stuarts to the throne. Christopher Baker, the director of the Scottish National Portrait Gallery, said on the painting's acquisition:It is a little gem of a picture, almost on a miniature scale, which was likely produced on that scale because it was planned from the outset that it would be replicated as prints. It becomes the key source for an awful lot of propaganda to support the Jacobite cause, which were widely distributed, not just in Scotland, but right across Britain and Europe.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Lost portrait of Charles Edward Stuart

Prompt: Explain the Painting of this artwork, Lost portrait of Charles Edward Stuart.

The small painting, 12 by 10 inches (30 by 25 centimetres), is the only one of Charles known to have been painted in Britain. The painting was intended to be taken to England and be both reproduced in engravings and used as the "basis for an official royal portrait" if the Jacobites succeeded in restoring the Stuarts to the throne. Christopher Baker, the director of the Scottish National Portrait Gallery, said on the painting's acquisition:It is a little gem of a picture, almost on a miniature scale, which was likely produced on that scale because it was planned from the outset that it would be replicated as prints. It becomes the key source for an awful lot of propaganda to support the Jacobite cause, which were widely distributed, not just in Scotland, but right across Britain and Europe.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Lost portrait of Charles Edward Stuart

Prompt: How does Lost portrait of Charles Edward Stuart explain its Painting?

The small painting, 12 by 10 inches (30 by 25 centimetres), is the only one of Charles known to have been painted in Britain. The painting was intended to be taken to England and be both reproduced in engravings and used as the "basis for an official royal portrait" if the Jacobites succeeded in restoring the Stuarts to the throne. Christopher Baker, the director of the Scottish National Portrait Gallery, said on the painting's acquisition:It is a little gem of a picture, almost on a miniature scale, which was likely produced on that scale because it was planned from the outset that it would be replicated as prints. It becomes the key source for an awful lot of propaganda to support the Jacobite cause, which were widely distributed, not just in Scotland, but right across Britain and Europe.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Lost portrait of Charles Edward Stuart

Prompt: In Lost portrait of Charles Edward Stuart, how is the Painting discussed?

The small painting, 12 by 10 inches (30 by 25 centimetres), is the only one of Charles known to have been painted in Britain. The painting was intended to be taken to England and be both reproduced in engravings and used as the "basis for an official royal portrait" if the Jacobites succeeded in restoring the Stuarts to the throne. Christopher Baker, the director of the Scottish National Portrait Gallery, said on the painting's acquisition:It is a little gem of a picture, almost on a miniature scale, which was likely produced on that scale because it was planned from the outset that it would be replicated as prints. It becomes the key source for an awful lot of propaganda to support the Jacobite cause, which were widely distributed, not just in Scotland, but right across Britain and Europe.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Lost portrait of Charles Edward Stuart

Prompt: Focus on Lost portrait of Charles Edward Stuart and explain the BBC programme.

The story of Grosvenor's research into and discovery of the painting was the subject of a BBC documentary titled The Lost Portrait of Bonnie Prince Charlie, which was broadcast on BBC Two on 22 February 2014.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Lost portrait of Charles Edward Stuart

Prompt: Explain the BBC programme of this artwork, Lost portrait of Charles Edward Stuart.

The story of Grosvenor's research into and discovery of the painting was the subject of a BBC documentary titled The Lost Portrait of Bonnie Prince Charlie, which was broadcast on BBC Two on 22 February 2014.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Lost portrait of Charles Edward Stuart

Prompt: How does Lost portrait of Charles Edward Stuart explain its BBC programme?

The story of Grosvenor's research into and discovery of the painting was the subject of a BBC documentary titled The Lost Portrait of Bonnie Prince Charlie, which was broadcast on BBC Two on 22 February 2014.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Lost portrait of Charles Edward Stuart

Prompt: In Lost portrait of Charles Edward Stuart, how is the BBC programme discussed?

The story of Grosvenor's research into and discovery of the painting was the subject of a BBC documentary titled The Lost Portrait of Bonnie Prince Charlie, which was broadcast on BBC Two on 22 February 2014.

File:Maurice Quentin de La Tour Prince Henry Benedict Clement Stuart.jpg


Funeral of a Mummy on the Nile

Prompt: Focus on Funeral of a Mummy on the Nile and explain the abstract.

Funeral of a Mummy on the Nile (also known as Funeral of a Mummy, French: Les Funérailles d'une momie) is an oil on canvas painting by American artist Frederick Arthur Bridgman. It was painted between 1876 and 1877 and is considered his most acclaimed painting. Since 1990, it has been exhibited in Louisville, Kentucky, at the Speed Art Museum.

Ancient Egyptian funerary practices#Judgment

Ancient Egyptian funerary practices#Funerary boats

Category:Ancient Egyptian funerary practices

Category:Paintings by Frederick Arthur Bridgman

Category:Ancient Egypt in the Western imagination


Funeral of a Mummy on the Nile

Prompt: Explain the abstract of this artwork, Funeral of a Mummy on the Nile.

Funeral of a Mummy on the Nile (also known as Funeral of a Mummy, French: Les Funérailles d'une momie) is an oil on canvas painting by American artist Frederick Arthur Bridgman. It was painted between 1876 and 1877 and is considered his most acclaimed painting. Since 1990, it has been exhibited in Louisville, Kentucky, at the Speed Art Museum.

Ancient Egyptian funerary practices#Judgment

Ancient Egyptian funerary practices#Funerary boats

Category:Ancient Egyptian funerary practices

Category:Paintings by Frederick Arthur Bridgman

Category:Ancient Egypt in the Western imagination


Funeral of a Mummy on the Nile

Prompt: How does Funeral of a Mummy on the Nile explain its abstract?

Funeral of a Mummy on the Nile (also known as Funeral of a Mummy, French: Les Funérailles d'une momie) is an oil on canvas painting by American artist Frederick Arthur Bridgman. It was painted between 1876 and 1877 and is considered his most acclaimed painting. Since 1990, it has been exhibited in Louisville, Kentucky, at the Speed Art Museum.

Ancient Egyptian funerary practices#Judgment

Ancient Egyptian funerary practices#Funerary boats

Category:Ancient Egyptian funerary practices

Category:Paintings by Frederick Arthur Bridgman

Category:Ancient Egypt in the Western imagination


Funeral of a Mummy on the Nile

Prompt: In Funeral of a Mummy on the Nile, how is the abstract discussed?

Funeral of a Mummy on the Nile (also known as Funeral of a Mummy, French: Les Funérailles d'une momie) is an oil on canvas painting by American artist Frederick Arthur Bridgman. It was painted between 1876 and 1877 and is considered his most acclaimed painting. Since 1990, it has been exhibited in Louisville, Kentucky, at the Speed Art Museum.

Ancient Egyptian funerary practices#Judgment

Ancient Egyptian funerary practices#Funerary boats

Category:Ancient Egyptian funerary practices

Category:Paintings by Frederick Arthur Bridgman

Category:Ancient Egypt in the Western imagination


Funeral of a Mummy on the Nile

Prompt: Focus on Funeral of a Mummy on the Nile and explain the Background.

Bridgman, who lived in Paris since 1866, made several trips to North Africa between 1872 and 1874. In the winter of 1873–74, he traveled to Egypt for the first time, accompanied by fellow artist Charles Sprague Pearce. After spending some time in Cairo, they traveled upstream along the Nile, reaching as far as Abu Simbel in the south of Egypt. During this trip, Bridgman produced approximately 300 sketches and ink drawings, which became the source material for several later oil paintings. After returning to Paris in the summer of 1874, he commenced numerous large Egypt-themed compositions, among them several ambitious reconstructions of antique Egyptian life.Bridgman started working on Funeral of a Mummy on the Nile in 1876; the painting took him over six months to complete.

Ancient Egyptian funerary practices#Judgment

Ancient Egyptian funerary practices#Funerary boats

Category:Ancient Egyptian funerary practices

Category:Paintings by Frederick Arthur Bridgman

Category:Ancient Egypt in the Western imagination