Trio (Conner)

Prompt: Focus on Trio (Conner) and explain the Description.

Trio consists of three abstract, mixed metal sculptures inspired by the work of choreographer Anna Halprin and architect Lawrence Halprin. The pieces range in height from 9–12 feet and 2–5 feet in width. Conner has said of the series: "In designing sculptures for this space, I considered the Halprins' radical advocacy for a wide range of participation in spaces that are truly public. My artwork for this space is a respectful reference to the ephemeral nature of traveling from one place to another, with a glimpse of movement, light and shadow, out of the corner of the eye."

Lincoln Street/Southwest 3rd Avenue station

Lincoln Street/Southwest 3rd Avenue MAX Station

Category:Sculptures on the MAX Orange Line

Category:Outdoor sculptures in Southwest Portland, Oregon


Trio (Conner)

Prompt: Explain the Description of this artwork, Trio (Conner).

Trio consists of three abstract, mixed metal sculptures inspired by the work of choreographer Anna Halprin and architect Lawrence Halprin. The pieces range in height from 9–12 feet and 2–5 feet in width. Conner has said of the series: "In designing sculptures for this space, I considered the Halprins' radical advocacy for a wide range of participation in spaces that are truly public. My artwork for this space is a respectful reference to the ephemeral nature of traveling from one place to another, with a glimpse of movement, light and shadow, out of the corner of the eye."

Lincoln Street/Southwest 3rd Avenue station

Lincoln Street/Southwest 3rd Avenue MAX Station

Category:Sculptures on the MAX Orange Line

Category:Outdoor sculptures in Southwest Portland, Oregon


Trio (Conner)

Prompt: How does Trio (Conner) explain its Description?

Trio consists of three abstract, mixed metal sculptures inspired by the work of choreographer Anna Halprin and architect Lawrence Halprin. The pieces range in height from 9–12 feet and 2–5 feet in width. Conner has said of the series: "In designing sculptures for this space, I considered the Halprins' radical advocacy for a wide range of participation in spaces that are truly public. My artwork for this space is a respectful reference to the ephemeral nature of traveling from one place to another, with a glimpse of movement, light and shadow, out of the corner of the eye."

Lincoln Street/Southwest 3rd Avenue station

Lincoln Street/Southwest 3rd Avenue MAX Station

Category:Sculptures on the MAX Orange Line

Category:Outdoor sculptures in Southwest Portland, Oregon


Trio (Conner)

Prompt: In Trio (Conner), how is the Description discussed?

Trio consists of three abstract, mixed metal sculptures inspired by the work of choreographer Anna Halprin and architect Lawrence Halprin. The pieces range in height from 9–12 feet and 2–5 feet in width. Conner has said of the series: "In designing sculptures for this space, I considered the Halprins' radical advocacy for a wide range of participation in spaces that are truly public. My artwork for this space is a respectful reference to the ephemeral nature of traveling from one place to another, with a glimpse of movement, light and shadow, out of the corner of the eye."

Lincoln Street/Southwest 3rd Avenue station

Lincoln Street/Southwest 3rd Avenue MAX Station

Category:Sculptures on the MAX Orange Line

Category:Outdoor sculptures in Southwest Portland, Oregon


Waiting for the Barbarians (Rauch)

Prompt: Focus on Waiting for the Barbarians (Rauch) and explain the abstract.

Waiting for the Barbarians (German: Warten auf die Barbaren) is an oil on canvas painting by the German artist Neo Rauch, from 2007. To the right in the picture is a carnival where a minotaur is cheered on a stage, while to the left another minotaur is about to be burned at the stake. The canvas also includes several other people and creatures. The title is taken from the poem "Waiting for the Barbarians" by Constantine P. Cavafy. The painting is held at The Broad, in Los Angeles.It was one of fourteen paintings in Rauch's exhibition Para, which was held in the Metropolitan Museum of Art, in New York, in 2007.

Category:2007 paintings
Minotaur
Roberta Smith
Madonna
minotaur
Neo Rauch
New York
Category:Paintings of people
Waiting for the Barbarians
The Broad
Mary (mother of Jesus)
Category:Oil on canvas paintings
The New York Observer
Category:Paintings by Neo Rauch
Renaissance painting
Category:Collection of the Broad
Metropolitan Museum of Art
Constantine P. Cavafy
Eve
Category:Cats in art
Renaissance art
New York Observer
Category:Minotaur in popular culture
Die Welt
Oil painting
Los Angeles
Balthus
New York City
Oil on canvas
black panther
The New York Times
Waiting for the Barbarians (poem)
Mario Naves


Waiting for the Barbarians (Rauch)

Prompt: Explain the abstract of this artwork, Waiting for the Barbarians (Rauch).

Waiting for the Barbarians (German: Warten auf die Barbaren) is an oil on canvas painting by the German artist Neo Rauch, from 2007. To the right in the picture is a carnival where a minotaur is cheered on a stage, while to the left another minotaur is about to be burned at the stake. The canvas also includes several other people and creatures. The title is taken from the poem "Waiting for the Barbarians" by Constantine P. Cavafy. The painting is held at The Broad, in Los Angeles.It was one of fourteen paintings in Rauch's exhibition Para, which was held in the Metropolitan Museum of Art, in New York, in 2007.

Category:2007 paintings
Minotaur
Roberta Smith
Madonna
minotaur
Neo Rauch
New York
Category:Paintings of people
Waiting for the Barbarians
The Broad
Mary (mother of Jesus)
Category:Oil on canvas paintings
The New York Observer
Category:Paintings by Neo Rauch
Renaissance painting
Category:Collection of the Broad
Metropolitan Museum of Art
Constantine P. Cavafy
Eve
Category:Cats in art
Renaissance art
New York Observer
Category:Minotaur in popular culture
Die Welt
Oil painting
Los Angeles
Balthus
New York City
Oil on canvas
black panther
The New York Times
Waiting for the Barbarians (poem)
Mario Naves


Waiting for the Barbarians (Rauch)

Prompt: How does Waiting for the Barbarians (Rauch) explain its abstract?

Waiting for the Barbarians (German: Warten auf die Barbaren) is an oil on canvas painting by the German artist Neo Rauch, from 2007. To the right in the picture is a carnival where a minotaur is cheered on a stage, while to the left another minotaur is about to be burned at the stake. The canvas also includes several other people and creatures. The title is taken from the poem "Waiting for the Barbarians" by Constantine P. Cavafy. The painting is held at The Broad, in Los Angeles.It was one of fourteen paintings in Rauch's exhibition Para, which was held in the Metropolitan Museum of Art, in New York, in 2007.

Category:2007 paintings
Minotaur
Roberta Smith
Madonna
minotaur
Neo Rauch
New York
Category:Paintings of people
Waiting for the Barbarians
The Broad
Mary (mother of Jesus)
Category:Oil on canvas paintings
The New York Observer
Category:Paintings by Neo Rauch
Renaissance painting
Category:Collection of the Broad
Metropolitan Museum of Art
Constantine P. Cavafy
Eve
Category:Cats in art
Renaissance art
New York Observer
Category:Minotaur in popular culture
Die Welt
Oil painting
Los Angeles
Balthus
New York City
Oil on canvas
black panther
The New York Times
Waiting for the Barbarians (poem)
Mario Naves


Waiting for the Barbarians (Rauch)

Prompt: In Waiting for the Barbarians (Rauch), how is the abstract discussed?

Waiting for the Barbarians (German: Warten auf die Barbaren) is an oil on canvas painting by the German artist Neo Rauch, from 2007. To the right in the picture is a carnival where a minotaur is cheered on a stage, while to the left another minotaur is about to be burned at the stake. The canvas also includes several other people and creatures. The title is taken from the poem "Waiting for the Barbarians" by Constantine P. Cavafy. The painting is held at The Broad, in Los Angeles.It was one of fourteen paintings in Rauch's exhibition Para, which was held in the Metropolitan Museum of Art, in New York, in 2007.

Category:2007 paintings
Minotaur
Roberta Smith
Madonna
minotaur
Neo Rauch
New York
Category:Paintings of people
Waiting for the Barbarians
The Broad
Mary (mother of Jesus)
Category:Oil on canvas paintings
The New York Observer
Category:Paintings by Neo Rauch
Renaissance painting
Category:Collection of the Broad
Metropolitan Museum of Art
Constantine P. Cavafy
Eve
Category:Cats in art
Renaissance art
New York Observer
Category:Minotaur in popular culture
Die Welt
Oil painting
Los Angeles
Balthus
New York City
Oil on canvas
black panther
The New York Times
Waiting for the Barbarians (poem)
Mario Naves


Waiting for the Barbarians (Rauch)

Prompt: Focus on Waiting for the Barbarians (Rauch) and explain the Description.

To the left, under a clear blue sky, is a barrack, and in front of it a minotaur is strapped to a stake prepared with firewood. In the middle of the picture, a woman lies on her back with a ball in her hand, while a creature with a long red beak touches her breast with a rod. Behind her is another woman who looks out to the left, and behind her a black panther is turned to the right. In the right part of the picture is a carnival with a shooting gallery and a stage where a minotaur is presented to a cheering audience.

Category:2007 paintings
Minotaur
Roberta Smith
Madonna
minotaur
Neo Rauch
New York
Category:Paintings of people
Waiting for the Barbarians
The Broad
Mary (mother of Jesus)
Category:Oil on canvas paintings
The New York Observer
Category:Paintings by Neo Rauch
Renaissance painting
Category:Collection of the Broad
Metropolitan Museum of Art
Constantine P. Cavafy
Eve
Category:Cats in art
Renaissance art
New York Observer
Category:Minotaur in popular culture
Die Welt
Oil painting
Los Angeles
Balthus
New York City
Oil on canvas
black panther
The New York Times
Waiting for the Barbarians (poem)
Mario Naves


Waiting for the Barbarians (Rauch)

Prompt: Explain the Description of this artwork, Waiting for the Barbarians (Rauch).

To the left, under a clear blue sky, is a barrack, and in front of it a minotaur is strapped to a stake prepared with firewood. In the middle of the picture, a woman lies on her back with a ball in her hand, while a creature with a long red beak touches her breast with a rod. Behind her is another woman who looks out to the left, and behind her a black panther is turned to the right. In the right part of the picture is a carnival with a shooting gallery and a stage where a minotaur is presented to a cheering audience.

Category:2007 paintings
Minotaur
Roberta Smith
Madonna
minotaur
Neo Rauch
New York
Category:Paintings of people
Waiting for the Barbarians
The Broad
Mary (mother of Jesus)
Category:Oil on canvas paintings
The New York Observer
Category:Paintings by Neo Rauch
Renaissance painting
Category:Collection of the Broad
Metropolitan Museum of Art
Constantine P. Cavafy
Eve
Category:Cats in art
Renaissance art
New York Observer
Category:Minotaur in popular culture
Die Welt
Oil painting
Los Angeles
Balthus
New York City
Oil on canvas
black panther
The New York Times
Waiting for the Barbarians (poem)
Mario Naves


Waiting for the Barbarians (Rauch)

Prompt: How does Waiting for the Barbarians (Rauch) explain its Description?

To the left, under a clear blue sky, is a barrack, and in front of it a minotaur is strapped to a stake prepared with firewood. In the middle of the picture, a woman lies on her back with a ball in her hand, while a creature with a long red beak touches her breast with a rod. Behind her is another woman who looks out to the left, and behind her a black panther is turned to the right. In the right part of the picture is a carnival with a shooting gallery and a stage where a minotaur is presented to a cheering audience.

Category:2007 paintings
Minotaur
Roberta Smith
Madonna
minotaur
Neo Rauch
New York
Category:Paintings of people
Waiting for the Barbarians
The Broad
Mary (mother of Jesus)
Category:Oil on canvas paintings
The New York Observer
Category:Paintings by Neo Rauch
Renaissance painting
Category:Collection of the Broad
Metropolitan Museum of Art
Constantine P. Cavafy
Eve
Category:Cats in art
Renaissance art
New York Observer
Category:Minotaur in popular culture
Die Welt
Oil painting
Los Angeles
Balthus
New York City
Oil on canvas
black panther
The New York Times
Waiting for the Barbarians (poem)
Mario Naves


Waiting for the Barbarians (Rauch)

Prompt: In Waiting for the Barbarians (Rauch), how is the Description discussed?

To the left, under a clear blue sky, is a barrack, and in front of it a minotaur is strapped to a stake prepared with firewood. In the middle of the picture, a woman lies on her back with a ball in her hand, while a creature with a long red beak touches her breast with a rod. Behind her is another woman who looks out to the left, and behind her a black panther is turned to the right. In the right part of the picture is a carnival with a shooting gallery and a stage where a minotaur is presented to a cheering audience.

Category:2007 paintings
Minotaur
Roberta Smith
Madonna
minotaur
Neo Rauch
New York
Category:Paintings of people
Waiting for the Barbarians
The Broad
Mary (mother of Jesus)
Category:Oil on canvas paintings
The New York Observer
Category:Paintings by Neo Rauch
Renaissance painting
Category:Collection of the Broad
Metropolitan Museum of Art
Constantine P. Cavafy
Eve
Category:Cats in art
Renaissance art
New York Observer
Category:Minotaur in popular culture
Die Welt
Oil painting
Los Angeles
Balthus
New York City
Oil on canvas
black panther
The New York Times
Waiting for the Barbarians (poem)
Mario Naves


Waiting for the Barbarians (Rauch)

Prompt: Focus on Waiting for the Barbarians (Rauch) and explain the Reception.

Reviewing the Para exhibition for The New York Times, Roberta Smith wrote that "only two paintings have color that really sings and draws you toward them", of which one was Waiting for the Barbarians and the other was The Next Move. Smith described the painting's "intense blue sky and flailing figures in red, yellow and blue", and compared the reclining woman in the picture to "a version of Eve or the Madonna who has toppled out of Renaissance painting without dropping her main prop." Largely unimpressed by the exhibition as a whole, Smith wrote that "the painting that makes the most sense is Waiting for the Barbarians, in which a Minotaur, or a man dressed as one, is taken to a small stage, like Christ before the people, while another burns at the stake." According to Smith, this distinguished the painting from the rest of the exhibition, which she described as "unassembled and formulaic".Mario Naves of the New York Observer compared Waiting for the Barbarians to Balthus' 1936 painting The Mountain, and wrote:The canvases bear an uncanny resemblance to each other, but Mr. Rauch’s enigmatic panorama is too unsettled and stern to succumb to the French master’s brittle nostalgia. However despondent the scenario or antiquated the imagery, a painting by Mr. Rauch points forward—albeit in ways that are hard to pin down. What they have to say about culture or, for that matter, the future is no small cause for concern. In the meantime, Mr. Rauch’s elusive lessons are here to puzzle over.

Category:2007 paintings
Minotaur
Roberta Smith
Madonna
minotaur
Neo Rauch
New York
Category:Paintings of people
Waiting for the Barbarians
The Broad
Mary (mother of Jesus)
Category:Oil on canvas paintings
The New York Observer
Category:Paintings by Neo Rauch
Renaissance painting
Category:Collection of the Broad
Metropolitan Museum of Art
Constantine P. Cavafy
Eve
Category:Cats in art
Renaissance art
New York Observer
Category:Minotaur in popular culture
Die Welt
Oil painting
Los Angeles
Balthus
New York City
Oil on canvas
black panther
The New York Times
Waiting for the Barbarians (poem)
Mario Naves


Waiting for the Barbarians (Rauch)

Prompt: Explain the Reception of this artwork, Waiting for the Barbarians (Rauch).

Reviewing the Para exhibition for The New York Times, Roberta Smith wrote that "only two paintings have color that really sings and draws you toward them", of which one was Waiting for the Barbarians and the other was The Next Move. Smith described the painting's "intense blue sky and flailing figures in red, yellow and blue", and compared the reclining woman in the picture to "a version of Eve or the Madonna who has toppled out of Renaissance painting without dropping her main prop." Largely unimpressed by the exhibition as a whole, Smith wrote that "the painting that makes the most sense is Waiting for the Barbarians, in which a Minotaur, or a man dressed as one, is taken to a small stage, like Christ before the people, while another burns at the stake." According to Smith, this distinguished the painting from the rest of the exhibition, which she described as "unassembled and formulaic".Mario Naves of the New York Observer compared Waiting for the Barbarians to Balthus' 1936 painting The Mountain, and wrote:The canvases bear an uncanny resemblance to each other, but Mr. Rauch’s enigmatic panorama is too unsettled and stern to succumb to the French master’s brittle nostalgia. However despondent the scenario or antiquated the imagery, a painting by Mr. Rauch points forward—albeit in ways that are hard to pin down. What they have to say about culture or, for that matter, the future is no small cause for concern. In the meantime, Mr. Rauch’s elusive lessons are here to puzzle over.

Category:2007 paintings
Minotaur
Roberta Smith
Madonna
minotaur
Neo Rauch
New York
Category:Paintings of people
Waiting for the Barbarians
The Broad
Mary (mother of Jesus)
Category:Oil on canvas paintings
The New York Observer
Category:Paintings by Neo Rauch
Renaissance painting
Category:Collection of the Broad
Metropolitan Museum of Art
Constantine P. Cavafy
Eve
Category:Cats in art
Renaissance art
New York Observer
Category:Minotaur in popular culture
Die Welt
Oil painting
Los Angeles
Balthus
New York City
Oil on canvas
black panther
The New York Times
Waiting for the Barbarians (poem)
Mario Naves


Waiting for the Barbarians (Rauch)

Prompt: How does Waiting for the Barbarians (Rauch) explain its Reception?

Reviewing the Para exhibition for The New York Times, Roberta Smith wrote that "only two paintings have color that really sings and draws you toward them", of which one was Waiting for the Barbarians and the other was The Next Move. Smith described the painting's "intense blue sky and flailing figures in red, yellow and blue", and compared the reclining woman in the picture to "a version of Eve or the Madonna who has toppled out of Renaissance painting without dropping her main prop." Largely unimpressed by the exhibition as a whole, Smith wrote that "the painting that makes the most sense is Waiting for the Barbarians, in which a Minotaur, or a man dressed as one, is taken to a small stage, like Christ before the people, while another burns at the stake." According to Smith, this distinguished the painting from the rest of the exhibition, which she described as "unassembled and formulaic".Mario Naves of the New York Observer compared Waiting for the Barbarians to Balthus' 1936 painting The Mountain, and wrote:The canvases bear an uncanny resemblance to each other, but Mr. Rauch’s enigmatic panorama is too unsettled and stern to succumb to the French master’s brittle nostalgia. However despondent the scenario or antiquated the imagery, a painting by Mr. Rauch points forward—albeit in ways that are hard to pin down. What they have to say about culture or, for that matter, the future is no small cause for concern. In the meantime, Mr. Rauch’s elusive lessons are here to puzzle over.

Category:2007 paintings
Minotaur
Roberta Smith
Madonna
minotaur
Neo Rauch
New York
Category:Paintings of people
Waiting for the Barbarians
The Broad
Mary (mother of Jesus)
Category:Oil on canvas paintings
The New York Observer
Category:Paintings by Neo Rauch
Renaissance painting
Category:Collection of the Broad
Metropolitan Museum of Art
Constantine P. Cavafy
Eve
Category:Cats in art
Renaissance art
New York Observer
Category:Minotaur in popular culture
Die Welt
Oil painting
Los Angeles
Balthus
New York City
Oil on canvas
black panther
The New York Times
Waiting for the Barbarians (poem)
Mario Naves


Waiting for the Barbarians (Rauch)

Prompt: In Waiting for the Barbarians (Rauch), how is the Reception discussed?

Reviewing the Para exhibition for The New York Times, Roberta Smith wrote that "only two paintings have color that really sings and draws you toward them", of which one was Waiting for the Barbarians and the other was The Next Move. Smith described the painting's "intense blue sky and flailing figures in red, yellow and blue", and compared the reclining woman in the picture to "a version of Eve or the Madonna who has toppled out of Renaissance painting without dropping her main prop." Largely unimpressed by the exhibition as a whole, Smith wrote that "the painting that makes the most sense is Waiting for the Barbarians, in which a Minotaur, or a man dressed as one, is taken to a small stage, like Christ before the people, while another burns at the stake." According to Smith, this distinguished the painting from the rest of the exhibition, which she described as "unassembled and formulaic".Mario Naves of the New York Observer compared Waiting for the Barbarians to Balthus' 1936 painting The Mountain, and wrote:The canvases bear an uncanny resemblance to each other, but Mr. Rauch’s enigmatic panorama is too unsettled and stern to succumb to the French master’s brittle nostalgia. However despondent the scenario or antiquated the imagery, a painting by Mr. Rauch points forward—albeit in ways that are hard to pin down. What they have to say about culture or, for that matter, the future is no small cause for concern. In the meantime, Mr. Rauch’s elusive lessons are here to puzzle over.

Category:2007 paintings
Minotaur
Roberta Smith
Madonna
minotaur
Neo Rauch
New York
Category:Paintings of people
Waiting for the Barbarians
The Broad
Mary (mother of Jesus)
Category:Oil on canvas paintings
The New York Observer
Category:Paintings by Neo Rauch
Renaissance painting
Category:Collection of the Broad
Metropolitan Museum of Art
Constantine P. Cavafy
Eve
Category:Cats in art
Renaissance art
New York Observer
Category:Minotaur in popular culture
Die Welt
Oil painting
Los Angeles
Balthus
New York City
Oil on canvas
black panther
The New York Times
Waiting for the Barbarians (poem)
Mario Naves


Courtyard with an Arbour

Prompt: Focus on Courtyard with an Arbour and explain the abstract.

Courtyard with an Arbour (1658–1660) is an oil-on-canvas painting by the Dutch painter Pieter de Hooch; it is now in a private collection. It was sold in 1992 for almost seven million dollars.

291. ''[[The Courtyard of a House in Delft

File:Pieter de Hooch - The Courtyard of a House in Delft.jpg


Courtyard with an Arbour

Prompt: Explain the abstract of this artwork, Courtyard with an Arbour.

Courtyard with an Arbour (1658–1660) is an oil-on-canvas painting by the Dutch painter Pieter de Hooch; it is now in a private collection. It was sold in 1992 for almost seven million dollars.

291. ''[[The Courtyard of a House in Delft

File:Pieter de Hooch - The Courtyard of a House in Delft.jpg


Courtyard with an Arbour

Prompt: How does Courtyard with an Arbour explain its abstract?

Courtyard with an Arbour (1658–1660) is an oil-on-canvas painting by the Dutch painter Pieter de Hooch; it is now in a private collection. It was sold in 1992 for almost seven million dollars.

291. ''[[The Courtyard of a House in Delft

File:Pieter de Hooch - The Courtyard of a House in Delft.jpg


Courtyard with an Arbour

Prompt: In Courtyard with an Arbour, how is the abstract discussed?

Courtyard with an Arbour (1658–1660) is an oil-on-canvas painting by the Dutch painter Pieter de Hooch; it is now in a private collection. It was sold in 1992 for almost seven million dollars.

291. ''[[The Courtyard of a House in Delft

File:Pieter de Hooch - The Courtyard of a House in Delft.jpg


Courtyard with an Arbour

Prompt: Focus on Courtyard with an Arbour and explain the History.

This painting by Hooch was first documented by John Smith in 1833, who wrote:47. A View in the Back Court of a House, looking towards a building, which has a lofty arched passage through it, paved with marble, at the end of which are seen a street, and some trees, upon the step of the passage, in front, is seated a child, dressed in a gray frock and yellow skirt, with a dog in her lap ; and under a covering of vine trellis (in a recess, formed by some walls, and the corner of the house), are three men seated at a table, regaling, and a woman standing near them, with a glass of wine in her hand : various objects, among which are a cask and a pot, concur to give picturesque effect to the scene, which is brightly illumined by the appearance of the most perfect daylight. Signed, and dated 1658. 2 ft. 4 in. by 1 ft. 11 in.—G. This excellent picture was formerly in the collection of Mr. Walscott, at Antwerp, and was bought, a few years back, by the present proprietor, at a large price, at Berlin. Now in the collection of Edward Solly, Esq.

291. ''[[The Courtyard of a House in Delft

File:Pieter de Hooch - The Courtyard of a House in Delft.jpg


Courtyard with an Arbour

Prompt: Explain the History of this artwork, Courtyard with an Arbour.

This painting by Hooch was first documented by John Smith in 1833, who wrote:47. A View in the Back Court of a House, looking towards a building, which has a lofty arched passage through it, paved with marble, at the end of which are seen a street, and some trees, upon the step of the passage, in front, is seated a child, dressed in a gray frock and yellow skirt, with a dog in her lap ; and under a covering of vine trellis (in a recess, formed by some walls, and the corner of the house), are three men seated at a table, regaling, and a woman standing near them, with a glass of wine in her hand : various objects, among which are a cask and a pot, concur to give picturesque effect to the scene, which is brightly illumined by the appearance of the most perfect daylight. Signed, and dated 1658. 2 ft. 4 in. by 1 ft. 11 in.—G. This excellent picture was formerly in the collection of Mr. Walscott, at Antwerp, and was bought, a few years back, by the present proprietor, at a large price, at Berlin. Now in the collection of Edward Solly, Esq.

291. ''[[The Courtyard of a House in Delft

File:Pieter de Hooch - The Courtyard of a House in Delft.jpg


Courtyard with an Arbour

Prompt: How does Courtyard with an Arbour explain its History?

This painting by Hooch was first documented by John Smith in 1833, who wrote:47. A View in the Back Court of a House, looking towards a building, which has a lofty arched passage through it, paved with marble, at the end of which are seen a street, and some trees, upon the step of the passage, in front, is seated a child, dressed in a gray frock and yellow skirt, with a dog in her lap ; and under a covering of vine trellis (in a recess, formed by some walls, and the corner of the house), are three men seated at a table, regaling, and a woman standing near them, with a glass of wine in her hand : various objects, among which are a cask and a pot, concur to give picturesque effect to the scene, which is brightly illumined by the appearance of the most perfect daylight. Signed, and dated 1658. 2 ft. 4 in. by 1 ft. 11 in.—G. This excellent picture was formerly in the collection of Mr. Walscott, at Antwerp, and was bought, a few years back, by the present proprietor, at a large price, at Berlin. Now in the collection of Edward Solly, Esq.

291. ''[[The Courtyard of a House in Delft

File:Pieter de Hooch - The Courtyard of a House in Delft.jpg


Courtyard with an Arbour

Prompt: In Courtyard with an Arbour, how is the History discussed?

This painting by Hooch was first documented by John Smith in 1833, who wrote:47. A View in the Back Court of a House, looking towards a building, which has a lofty arched passage through it, paved with marble, at the end of which are seen a street, and some trees, upon the step of the passage, in front, is seated a child, dressed in a gray frock and yellow skirt, with a dog in her lap ; and under a covering of vine trellis (in a recess, formed by some walls, and the corner of the house), are three men seated at a table, regaling, and a woman standing near them, with a glass of wine in her hand : various objects, among which are a cask and a pot, concur to give picturesque effect to the scene, which is brightly illumined by the appearance of the most perfect daylight. Signed, and dated 1658. 2 ft. 4 in. by 1 ft. 11 in.—G. This excellent picture was formerly in the collection of Mr. Walscott, at Antwerp, and was bought, a few years back, by the present proprietor, at a large price, at Berlin. Now in the collection of Edward Solly, Esq.

291. ''[[The Courtyard of a House in Delft

File:Pieter de Hooch - The Courtyard of a House in Delft.jpg


Courtyard with an Arbour

Prompt: Focus on Courtyard with an Arbour and explain the Description.

Smith updated his entry in his 1842 supplement and wrote:15. A Gentleman taking Wine in the Back Court of a House. See description, No. 47, Vol. IV. ; and for three men, read, " Two men." Sold in the collection of Edward Solly, Esq., 1837, by Messrs. Foster and Son, for 510 gs. Now in the collection of George Byng, Esq. Exhibited in the British Gallery, 1839. A duplicate of the preceding picture, somewhat clearer in tone, and with some trifling variations in the details, was imported from Holland by Mr. Chaplin, in 1839. Formerly in the collection of Mr. Koopman, at Utrecht.The painting was catalogued over a half-century later by Hofstede de Groot in 1908, who identified "Mr. Walscott, at Antwerp" and wrote:299. COURTYARD WITH AN ARBOUR. Sm. 47, Suppl. 15 ; de G. 53.  The spectator looks upon a house, built of red and yellowish-grey stone. Through it runs a lofty arched passage paved with tiles, giving a view of a canal with trees. On the steps of the archway, in the foreground, sits a little girl, wearing a grey jacket and yellow frock, with a dog on her lap. Beneath a vine-clad arbour, in a recess formed by the wall and the corner of the house, sit two men at a table. One of them wears a black hat and jacket, and grey breeches, red garters, and white stockings ; the other is dressed in brownish grey. In front of the second man stands a woman with a glass of wine in her hand ; she wears a white bodice, a blue petticoat, and, turned up over it, a light purplish-grey skirt. A grey cloak, a black bandolier, and a sword hang on a red window-sill to the left. Various objects, among which are a cask and a pot, add to the picturesque effect of the scene, which is brightly illumined by daylight. The courtyard is paved partly with yellow bricks, partly with grey stone. The whole picture is luminous in tone, but the lights and shadows in the passage are too slightly contrasted. Above the archway is the same inscription as in the London National Gallery picture (291), to which this forms a pendant. Of the five-line inscription only fragments are legible, as follows : (i) . . . ; (2) wy j (3) sa ; (4) w . . . wy ; (5) willen wy . . . 1614. [Compare the inscription in 291.] Signed, on the doorpost in the middle, " P D H 1658 " ; panel (Sm. says canvas), 26 1/2 inches by 22 1/2 inches. Mentioned by Waagen (Supplement, p. 323).Exhibited at the British Gallery, London, 1839, and at the Royal Academy Winter Exhibition, London, 1881, No. 101. Sale. J. F. Wolschot, Antwerp, September 1, 1817.Bought in Berlin, a few years before 1833, by Edward Solly.Sale. Edward Solly, London, 1837 G535 : ids.).In the collection of George Byng in 1842 (Sm.).Now in the collection of the Earl of Strafford, Wrotham Park, Enfield.According to Sm. a replica, somewhat lighter in tone and with some trifling variations in the details, was brought from Holland to England by Chaplin in 1839 ; it had formerly been in the possession of S. A. Koopman, Utrecht. It may probably be identified with the picture belonging to Mr. A. de Rothschild (295)."According to the 1992 Christie's sale record, tracing the provenance back in time from J. F. Wolschot the painting was formerly in the collection of Joséphine de Beauharnais and it was documented in an inventory of pictures at Château de Malmaison in 1814.

291. ''[[The Courtyard of a House in Delft

File:Pieter de Hooch - The Courtyard of a House in Delft.jpg


Courtyard with an Arbour

Prompt: Explain the Description of this artwork, Courtyard with an Arbour.

Smith updated his entry in his 1842 supplement and wrote:15. A Gentleman taking Wine in the Back Court of a House. See description, No. 47, Vol. IV. ; and for three men, read, " Two men." Sold in the collection of Edward Solly, Esq., 1837, by Messrs. Foster and Son, for 510 gs. Now in the collection of George Byng, Esq. Exhibited in the British Gallery, 1839. A duplicate of the preceding picture, somewhat clearer in tone, and with some trifling variations in the details, was imported from Holland by Mr. Chaplin, in 1839. Formerly in the collection of Mr. Koopman, at Utrecht.The painting was catalogued over a half-century later by Hofstede de Groot in 1908, who identified "Mr. Walscott, at Antwerp" and wrote:299. COURTYARD WITH AN ARBOUR. Sm. 47, Suppl. 15 ; de G. 53.  The spectator looks upon a house, built of red and yellowish-grey stone. Through it runs a lofty arched passage paved with tiles, giving a view of a canal with trees. On the steps of the archway, in the foreground, sits a little girl, wearing a grey jacket and yellow frock, with a dog on her lap. Beneath a vine-clad arbour, in a recess formed by the wall and the corner of the house, sit two men at a table. One of them wears a black hat and jacket, and grey breeches, red garters, and white stockings ; the other is dressed in brownish grey. In front of the second man stands a woman with a glass of wine in her hand ; she wears a white bodice, a blue petticoat, and, turned up over it, a light purplish-grey skirt. A grey cloak, a black bandolier, and a sword hang on a red window-sill to the left. Various objects, among which are a cask and a pot, add to the picturesque effect of the scene, which is brightly illumined by daylight. The courtyard is paved partly with yellow bricks, partly with grey stone. The whole picture is luminous in tone, but the lights and shadows in the passage are too slightly contrasted. Above the archway is the same inscription as in the London National Gallery picture (291), to which this forms a pendant. Of the five-line inscription only fragments are legible, as follows : (i) . . . ; (2) wy j (3) sa ; (4) w . . . wy ; (5) willen wy . . . 1614. [Compare the inscription in 291.] Signed, on the doorpost in the middle, " P D H 1658 " ; panel (Sm. says canvas), 26 1/2 inches by 22 1/2 inches. Mentioned by Waagen (Supplement, p. 323).Exhibited at the British Gallery, London, 1839, and at the Royal Academy Winter Exhibition, London, 1881, No. 101. Sale. J. F. Wolschot, Antwerp, September 1, 1817.Bought in Berlin, a few years before 1833, by Edward Solly.Sale. Edward Solly, London, 1837 G535 : ids.).In the collection of George Byng in 1842 (Sm.).Now in the collection of the Earl of Strafford, Wrotham Park, Enfield.According to Sm. a replica, somewhat lighter in tone and with some trifling variations in the details, was brought from Holland to England by Chaplin in 1839 ; it had formerly been in the possession of S. A. Koopman, Utrecht. It may probably be identified with the picture belonging to Mr. A. de Rothschild (295)."According to the 1992 Christie's sale record, tracing the provenance back in time from J. F. Wolschot the painting was formerly in the collection of Joséphine de Beauharnais and it was documented in an inventory of pictures at Château de Malmaison in 1814.

291. ''[[The Courtyard of a House in Delft

File:Pieter de Hooch - The Courtyard of a House in Delft.jpg


Courtyard with an Arbour

Prompt: How does Courtyard with an Arbour explain its Description?

Smith updated his entry in his 1842 supplement and wrote:15. A Gentleman taking Wine in the Back Court of a House. See description, No. 47, Vol. IV. ; and for three men, read, " Two men." Sold in the collection of Edward Solly, Esq., 1837, by Messrs. Foster and Son, for 510 gs. Now in the collection of George Byng, Esq. Exhibited in the British Gallery, 1839. A duplicate of the preceding picture, somewhat clearer in tone, and with some trifling variations in the details, was imported from Holland by Mr. Chaplin, in 1839. Formerly in the collection of Mr. Koopman, at Utrecht.The painting was catalogued over a half-century later by Hofstede de Groot in 1908, who identified "Mr. Walscott, at Antwerp" and wrote:299. COURTYARD WITH AN ARBOUR. Sm. 47, Suppl. 15 ; de G. 53.  The spectator looks upon a house, built of red and yellowish-grey stone. Through it runs a lofty arched passage paved with tiles, giving a view of a canal with trees. On the steps of the archway, in the foreground, sits a little girl, wearing a grey jacket and yellow frock, with a dog on her lap. Beneath a vine-clad arbour, in a recess formed by the wall and the corner of the house, sit two men at a table. One of them wears a black hat and jacket, and grey breeches, red garters, and white stockings ; the other is dressed in brownish grey. In front of the second man stands a woman with a glass of wine in her hand ; she wears a white bodice, a blue petticoat, and, turned up over it, a light purplish-grey skirt. A grey cloak, a black bandolier, and a sword hang on a red window-sill to the left. Various objects, among which are a cask and a pot, add to the picturesque effect of the scene, which is brightly illumined by daylight. The courtyard is paved partly with yellow bricks, partly with grey stone. The whole picture is luminous in tone, but the lights and shadows in the passage are too slightly contrasted. Above the archway is the same inscription as in the London National Gallery picture (291), to which this forms a pendant. Of the five-line inscription only fragments are legible, as follows : (i) . . . ; (2) wy j (3) sa ; (4) w . . . wy ; (5) willen wy . . . 1614. [Compare the inscription in 291.] Signed, on the doorpost in the middle, " P D H 1658 " ; panel (Sm. says canvas), 26 1/2 inches by 22 1/2 inches. Mentioned by Waagen (Supplement, p. 323).Exhibited at the British Gallery, London, 1839, and at the Royal Academy Winter Exhibition, London, 1881, No. 101. Sale. J. F. Wolschot, Antwerp, September 1, 1817.Bought in Berlin, a few years before 1833, by Edward Solly.Sale. Edward Solly, London, 1837 G535 : ids.).In the collection of George Byng in 1842 (Sm.).Now in the collection of the Earl of Strafford, Wrotham Park, Enfield.According to Sm. a replica, somewhat lighter in tone and with some trifling variations in the details, was brought from Holland to England by Chaplin in 1839 ; it had formerly been in the possession of S. A. Koopman, Utrecht. It may probably be identified with the picture belonging to Mr. A. de Rothschild (295)."According to the 1992 Christie's sale record, tracing the provenance back in time from J. F. Wolschot the painting was formerly in the collection of Joséphine de Beauharnais and it was documented in an inventory of pictures at Château de Malmaison in 1814.

291. ''[[The Courtyard of a House in Delft

File:Pieter de Hooch - The Courtyard of a House in Delft.jpg


Courtyard with an Arbour

Prompt: In Courtyard with an Arbour, how is the Description discussed?

Smith updated his entry in his 1842 supplement and wrote:15. A Gentleman taking Wine in the Back Court of a House. See description, No. 47, Vol. IV. ; and for three men, read, " Two men." Sold in the collection of Edward Solly, Esq., 1837, by Messrs. Foster and Son, for 510 gs. Now in the collection of George Byng, Esq. Exhibited in the British Gallery, 1839. A duplicate of the preceding picture, somewhat clearer in tone, and with some trifling variations in the details, was imported from Holland by Mr. Chaplin, in 1839. Formerly in the collection of Mr. Koopman, at Utrecht.The painting was catalogued over a half-century later by Hofstede de Groot in 1908, who identified "Mr. Walscott, at Antwerp" and wrote:299. COURTYARD WITH AN ARBOUR. Sm. 47, Suppl. 15 ; de G. 53.  The spectator looks upon a house, built of red and yellowish-grey stone. Through it runs a lofty arched passage paved with tiles, giving a view of a canal with trees. On the steps of the archway, in the foreground, sits a little girl, wearing a grey jacket and yellow frock, with a dog on her lap. Beneath a vine-clad arbour, in a recess formed by the wall and the corner of the house, sit two men at a table. One of them wears a black hat and jacket, and grey breeches, red garters, and white stockings ; the other is dressed in brownish grey. In front of the second man stands a woman with a glass of wine in her hand ; she wears a white bodice, a blue petticoat, and, turned up over it, a light purplish-grey skirt. A grey cloak, a black bandolier, and a sword hang on a red window-sill to the left. Various objects, among which are a cask and a pot, add to the picturesque effect of the scene, which is brightly illumined by daylight. The courtyard is paved partly with yellow bricks, partly with grey stone. The whole picture is luminous in tone, but the lights and shadows in the passage are too slightly contrasted. Above the archway is the same inscription as in the London National Gallery picture (291), to which this forms a pendant. Of the five-line inscription only fragments are legible, as follows : (i) . . . ; (2) wy j (3) sa ; (4) w . . . wy ; (5) willen wy . . . 1614. [Compare the inscription in 291.] Signed, on the doorpost in the middle, " P D H 1658 " ; panel (Sm. says canvas), 26 1/2 inches by 22 1/2 inches. Mentioned by Waagen (Supplement, p. 323).Exhibited at the British Gallery, London, 1839, and at the Royal Academy Winter Exhibition, London, 1881, No. 101. Sale. J. F. Wolschot, Antwerp, September 1, 1817.Bought in Berlin, a few years before 1833, by Edward Solly.Sale. Edward Solly, London, 1837 G535 : ids.).In the collection of George Byng in 1842 (Sm.).Now in the collection of the Earl of Strafford, Wrotham Park, Enfield.According to Sm. a replica, somewhat lighter in tone and with some trifling variations in the details, was brought from Holland to England by Chaplin in 1839 ; it had formerly been in the possession of S. A. Koopman, Utrecht. It may probably be identified with the picture belonging to Mr. A. de Rothschild (295)."According to the 1992 Christie's sale record, tracing the provenance back in time from J. F. Wolschot the painting was formerly in the collection of Joséphine de Beauharnais and it was documented in an inventory of pictures at Château de Malmaison in 1814.

291. ''[[The Courtyard of a House in Delft

File:Pieter de Hooch - The Courtyard of a House in Delft.jpg


La Spigolatrice

Prompt: Focus on La Spigolatrice and explain the abstract.

La Spigolatrice ("The Gleaner") is a bronze statue by Emanuele Stifano, installed in 2021 in Sapri, Italy.  It depicts a woman from Luigi Mercantini's poem The Gleaner of Sapri, and has attracted some criticism because of the "very well-defined" treatment of the buttocks (under a dress).  The artist is unrepentant.

Category:Statues of fictional characters


La Spigolatrice

Prompt: Explain the abstract of this artwork, La Spigolatrice.

La Spigolatrice ("The Gleaner") is a bronze statue by Emanuele Stifano, installed in 2021 in Sapri, Italy.  It depicts a woman from Luigi Mercantini's poem The Gleaner of Sapri, and has attracted some criticism because of the "very well-defined" treatment of the buttocks (under a dress).  The artist is unrepentant.

Category:Statues of fictional characters


La Spigolatrice

Prompt: How does La Spigolatrice explain its abstract?

La Spigolatrice ("The Gleaner") is a bronze statue by Emanuele Stifano, installed in 2021 in Sapri, Italy.  It depicts a woman from Luigi Mercantini's poem The Gleaner of Sapri, and has attracted some criticism because of the "very well-defined" treatment of the buttocks (under a dress).  The artist is unrepentant.

Category:Statues of fictional characters


La Spigolatrice

Prompt: In La Spigolatrice, how is the abstract discussed?

La Spigolatrice ("The Gleaner") is a bronze statue by Emanuele Stifano, installed in 2021 in Sapri, Italy.  It depicts a woman from Luigi Mercantini's poem The Gleaner of Sapri, and has attracted some criticism because of the "very well-defined" treatment of the buttocks (under a dress).  The artist is unrepentant.

Category:Statues of fictional characters


Portrait of Lorenzo the Magnificent

Prompt: Focus on Portrait of Lorenzo the Magnificent and explain the abstract.

The Portrait of Lorenzo the Magnificent is an oil-on-wood painting by Italian artist Giorgio Vasari, created around 1534. It is housed in the Uffizi, in Florence.

Category:1534 paintings
Ottaviano de' Medici
Republic of Florence
Lorenzo de' Medici
Category:Paintings in the Uffizi
Category:Portraits of men
Paola Barocchi
Portrait of Cosimo the Elder
Chiaroscuro
Pontormo
Uffizi
Giorgio Vasari
Category:Paintings by Giorgio Vasari
Cosimo the Elder
Florence


Portrait of Lorenzo the Magnificent

Prompt: Explain the abstract of this artwork, Portrait of Lorenzo the Magnificent.

The Portrait of Lorenzo the Magnificent is an oil-on-wood painting by Italian artist Giorgio Vasari, created around 1534. It is housed in the Uffizi, in Florence.

Category:1534 paintings
Ottaviano de' Medici
Republic of Florence
Lorenzo de' Medici
Category:Paintings in the Uffizi
Category:Portraits of men
Paola Barocchi
Portrait of Cosimo the Elder
Chiaroscuro
Pontormo
Uffizi
Giorgio Vasari
Category:Paintings by Giorgio Vasari
Cosimo the Elder
Florence


Portrait of Lorenzo the Magnificent

Prompt: How does Portrait of Lorenzo the Magnificent explain its abstract?

The Portrait of Lorenzo the Magnificent is an oil-on-wood painting by Italian artist Giorgio Vasari, created around 1534. It is housed in the Uffizi, in Florence.

Category:1534 paintings
Ottaviano de' Medici
Republic of Florence
Lorenzo de' Medici
Category:Paintings in the Uffizi
Category:Portraits of men
Paola Barocchi
Portrait of Cosimo the Elder
Chiaroscuro
Pontormo
Uffizi
Giorgio Vasari
Category:Paintings by Giorgio Vasari
Cosimo the Elder
Florence


Portrait of Lorenzo the Magnificent

Prompt: In Portrait of Lorenzo the Magnificent, how is the abstract discussed?

The Portrait of Lorenzo the Magnificent is an oil-on-wood painting by Italian artist Giorgio Vasari, created around 1534. It is housed in the Uffizi, in Florence.

Category:1534 paintings
Ottaviano de' Medici
Republic of Florence
Lorenzo de' Medici
Category:Paintings in the Uffizi
Category:Portraits of men
Paola Barocchi
Portrait of Cosimo the Elder
Chiaroscuro
Pontormo
Uffizi
Giorgio Vasari
Category:Paintings by Giorgio Vasari
Cosimo the Elder
Florence


Portrait of Lorenzo the Magnificent

Prompt: Focus on Portrait of Lorenzo the Magnificent and explain the History and description.

The painting was commissioned by Vasari's patron Ottaviano de' Medici, and is a posthumous portrait of Lorenzo de' Medici, the ruler of the Republic of Florence, who had died in 1492. The portrait is similar in style to the one of Cosimo the Elder by Pontormo.Lorenzo de' Medici, wearing a tunic with a collar and ermine sleeves, is represented seated, in profile, with a distant gaze, his face slightly bent, giving him more the attitude of a thinker or a philosopher than of a political leader.Lorenzo is surrounded by various ancient objects bearing sentences in Latin. The sentence on the vase at the top right above the mask of Vice reads "virtutum omnium vas", which means "vessel of all the virtues", while the one on the top of the column at the bottom left translates as "As my ancestors did for me, I enlightened my descendants by my virtue". He appears in a Chiaroscuro background, with several symbolic objects in bronze color: a ciborium at the top left collecting the head of gossip, with a bottle brush in the throat, ewer of Virtue, followed by the mask of Music, with a flute in the eye and snot in the nose, while the decomposed head of the Philosopher appears under the text of Virtue. The top of the column on which Lorenzo's arm rests surmounts the grotesque figure of the Lie, all figures that Vasari himself commented on.This is a so-called split portrait: a resembling portrait, accompanied by symbolic objects, making it a complex object on two levels.

Category:1534 paintings
Ottaviano de' Medici
Republic of Florence
Lorenzo de' Medici
Category:Paintings in the Uffizi
Category:Portraits of men
Paola Barocchi
Portrait of Cosimo the Elder
Chiaroscuro
Pontormo
Uffizi
Giorgio Vasari
Category:Paintings by Giorgio Vasari
Cosimo the Elder
Florence


Portrait of Lorenzo the Magnificent

Prompt: Explain the History and description of this artwork, Portrait of Lorenzo the Magnificent.

The painting was commissioned by Vasari's patron Ottaviano de' Medici, and is a posthumous portrait of Lorenzo de' Medici, the ruler of the Republic of Florence, who had died in 1492. The portrait is similar in style to the one of Cosimo the Elder by Pontormo.Lorenzo de' Medici, wearing a tunic with a collar and ermine sleeves, is represented seated, in profile, with a distant gaze, his face slightly bent, giving him more the attitude of a thinker or a philosopher than of a political leader.Lorenzo is surrounded by various ancient objects bearing sentences in Latin. The sentence on the vase at the top right above the mask of Vice reads "virtutum omnium vas", which means "vessel of all the virtues", while the one on the top of the column at the bottom left translates as "As my ancestors did for me, I enlightened my descendants by my virtue". He appears in a Chiaroscuro background, with several symbolic objects in bronze color: a ciborium at the top left collecting the head of gossip, with a bottle brush in the throat, ewer of Virtue, followed by the mask of Music, with a flute in the eye and snot in the nose, while the decomposed head of the Philosopher appears under the text of Virtue. The top of the column on which Lorenzo's arm rests surmounts the grotesque figure of the Lie, all figures that Vasari himself commented on.This is a so-called split portrait: a resembling portrait, accompanied by symbolic objects, making it a complex object on two levels.

Category:1534 paintings
Ottaviano de' Medici
Republic of Florence
Lorenzo de' Medici
Category:Paintings in the Uffizi
Category:Portraits of men
Paola Barocchi
Portrait of Cosimo the Elder
Chiaroscuro
Pontormo
Uffizi
Giorgio Vasari
Category:Paintings by Giorgio Vasari
Cosimo the Elder
Florence


Portrait of Lorenzo the Magnificent

Prompt: How does Portrait of Lorenzo the Magnificent explain its History and description?

The painting was commissioned by Vasari's patron Ottaviano de' Medici, and is a posthumous portrait of Lorenzo de' Medici, the ruler of the Republic of Florence, who had died in 1492. The portrait is similar in style to the one of Cosimo the Elder by Pontormo.Lorenzo de' Medici, wearing a tunic with a collar and ermine sleeves, is represented seated, in profile, with a distant gaze, his face slightly bent, giving him more the attitude of a thinker or a philosopher than of a political leader.Lorenzo is surrounded by various ancient objects bearing sentences in Latin. The sentence on the vase at the top right above the mask of Vice reads "virtutum omnium vas", which means "vessel of all the virtues", while the one on the top of the column at the bottom left translates as "As my ancestors did for me, I enlightened my descendants by my virtue". He appears in a Chiaroscuro background, with several symbolic objects in bronze color: a ciborium at the top left collecting the head of gossip, with a bottle brush in the throat, ewer of Virtue, followed by the mask of Music, with a flute in the eye and snot in the nose, while the decomposed head of the Philosopher appears under the text of Virtue. The top of the column on which Lorenzo's arm rests surmounts the grotesque figure of the Lie, all figures that Vasari himself commented on.This is a so-called split portrait: a resembling portrait, accompanied by symbolic objects, making it a complex object on two levels.

Category:1534 paintings
Ottaviano de' Medici
Republic of Florence
Lorenzo de' Medici
Category:Paintings in the Uffizi
Category:Portraits of men
Paola Barocchi
Portrait of Cosimo the Elder
Chiaroscuro
Pontormo
Uffizi
Giorgio Vasari
Category:Paintings by Giorgio Vasari
Cosimo the Elder
Florence


Portrait of Lorenzo the Magnificent

Prompt: In Portrait of Lorenzo the Magnificent, how is the History and description discussed?

The painting was commissioned by Vasari's patron Ottaviano de' Medici, and is a posthumous portrait of Lorenzo de' Medici, the ruler of the Republic of Florence, who had died in 1492. The portrait is similar in style to the one of Cosimo the Elder by Pontormo.Lorenzo de' Medici, wearing a tunic with a collar and ermine sleeves, is represented seated, in profile, with a distant gaze, his face slightly bent, giving him more the attitude of a thinker or a philosopher than of a political leader.Lorenzo is surrounded by various ancient objects bearing sentences in Latin. The sentence on the vase at the top right above the mask of Vice reads "virtutum omnium vas", which means "vessel of all the virtues", while the one on the top of the column at the bottom left translates as "As my ancestors did for me, I enlightened my descendants by my virtue". He appears in a Chiaroscuro background, with several symbolic objects in bronze color: a ciborium at the top left collecting the head of gossip, with a bottle brush in the throat, ewer of Virtue, followed by the mask of Music, with a flute in the eye and snot in the nose, while the decomposed head of the Philosopher appears under the text of Virtue. The top of the column on which Lorenzo's arm rests surmounts the grotesque figure of the Lie, all figures that Vasari himself commented on.This is a so-called split portrait: a resembling portrait, accompanied by symbolic objects, making it a complex object on two levels.

Category:1534 paintings
Ottaviano de' Medici
Republic of Florence
Lorenzo de' Medici
Category:Paintings in the Uffizi
Category:Portraits of men
Paola Barocchi
Portrait of Cosimo the Elder
Chiaroscuro
Pontormo
Uffizi
Giorgio Vasari
Category:Paintings by Giorgio Vasari
Cosimo the Elder
Florence


Assault of Thieves

Prompt: Focus on Assault of Thieves and explain the abstract.

Assault of Thieves (Spanish: Asalto de ladrones) is an oil painting made by the Spanish artist Francisco de Goya between 1793 and 1794. It is part of a private collection owned by Juan Abelló.


Assault of Thieves

Prompt: Explain the abstract of this artwork, Assault of Thieves.

Assault of Thieves (Spanish: Asalto de ladrones) is an oil painting made by the Spanish artist Francisco de Goya between 1793 and 1794. It is part of a private collection owned by Juan Abelló.


Assault of Thieves

Prompt: How does Assault of Thieves explain its abstract?

Assault of Thieves (Spanish: Asalto de ladrones) is an oil painting made by the Spanish artist Francisco de Goya between 1793 and 1794. It is part of a private collection owned by Juan Abelló.


Assault of Thieves

Prompt: In Assault of Thieves, how is the abstract discussed?

Assault of Thieves (Spanish: Asalto de ladrones) is an oil painting made by the Spanish artist Francisco de Goya between 1793 and 1794. It is part of a private collection owned by Juan Abelló.


Prompt: Focus on Statue of Enrique Díaz de León (University of Guadalajara) and explain the abstract.

A statue of Enrique Díaz de León is installed in Guadalajara, in the Mexican state of Jalisco. It is located at the University of Guadalajara as Díaz de León served as the first dean after its re-foundation in 1925.The statue was moved and placed in front of the General Rectory Building on 10 December 2015, where he looks at the avenue that bears his name.

Category:Outdoor sculptures in Guadalajara

Category:Sculptures of men in Guadalajara

Category:Monuments and memorials in Jalisco


Prompt: Explain the abstract of this artwork, Statue of Enrique Díaz de León (University of Guadalajara).

A statue of Enrique Díaz de León is installed in Guadalajara, in the Mexican state of Jalisco. It is located at the University of Guadalajara as Díaz de León served as the first dean after its re-foundation in 1925.The statue was moved and placed in front of the General Rectory Building on 10 December 2015, where he looks at the avenue that bears his name.

Category:Outdoor sculptures in Guadalajara

Category:Sculptures of men in Guadalajara

Category:Monuments and memorials in Jalisco


Prompt: How does Statue of Enrique Díaz de León (University of Guadalajara) explain its abstract?

A statue of Enrique Díaz de León is installed in Guadalajara, in the Mexican state of Jalisco. It is located at the University of Guadalajara as Díaz de León served as the first dean after its re-foundation in 1925.The statue was moved and placed in front of the General Rectory Building on 10 December 2015, where he looks at the avenue that bears his name.

Category:Outdoor sculptures in Guadalajara

Category:Sculptures of men in Guadalajara

Category:Monuments and memorials in Jalisco


Prompt: In Statue of Enrique Díaz de León (University of Guadalajara), how is the abstract discussed?

A statue of Enrique Díaz de León is installed in Guadalajara, in the Mexican state of Jalisco. It is located at the University of Guadalajara as Díaz de León served as the first dean after its re-foundation in 1925.The statue was moved and placed in front of the General Rectory Building on 10 December 2015, where he looks at the avenue that bears his name.

Category:Outdoor sculptures in Guadalajara

Category:Sculptures of men in Guadalajara

Category:Monuments and memorials in Jalisco


The Guitar Player (Greuze)

Prompt: Focus on The Guitar Player (Greuze) and explain the abstract.

The Guitar Player or The Guitarist is a c. 1757 oil-on-canvas painting by the French artist Jean-Baptiste Greuze, produced during his stay in Rome. It is now on display in Room VII (part of the Italian and French rooms) at the National Museum, Warsaw (inv. No. M. Ob. 914). It shows a young man tuning a guitar, with hunting accessories in the left background symbolising his being a bird-hunter (a common symbol for a seducer).The work was first exhibited at the Paris Salon in 1757 – a second autograph version is now in the Musée des Beaux-Arts in Nantes, the artist's hometown. Art historians argue that both versions are examples of genre painting, inspired by Dutch art.

Category:Paintings by Jean-Baptiste Greuze

Category:Paintings in the National Museum, Warsaw


The Guitar Player (Greuze)

Prompt: Explain the abstract of this artwork, The Guitar Player (Greuze).

The Guitar Player or The Guitarist is a c. 1757 oil-on-canvas painting by the French artist Jean-Baptiste Greuze, produced during his stay in Rome. It is now on display in Room VII (part of the Italian and French rooms) at the National Museum, Warsaw (inv. No. M. Ob. 914). It shows a young man tuning a guitar, with hunting accessories in the left background symbolising his being a bird-hunter (a common symbol for a seducer).The work was first exhibited at the Paris Salon in 1757 – a second autograph version is now in the Musée des Beaux-Arts in Nantes, the artist's hometown. Art historians argue that both versions are examples of genre painting, inspired by Dutch art.

Category:Paintings by Jean-Baptiste Greuze

Category:Paintings in the National Museum, Warsaw


The Guitar Player (Greuze)

Prompt: How does The Guitar Player (Greuze) explain its abstract?

The Guitar Player or The Guitarist is a c. 1757 oil-on-canvas painting by the French artist Jean-Baptiste Greuze, produced during his stay in Rome. It is now on display in Room VII (part of the Italian and French rooms) at the National Museum, Warsaw (inv. No. M. Ob. 914). It shows a young man tuning a guitar, with hunting accessories in the left background symbolising his being a bird-hunter (a common symbol for a seducer).The work was first exhibited at the Paris Salon in 1757 – a second autograph version is now in the Musée des Beaux-Arts in Nantes, the artist's hometown. Art historians argue that both versions are examples of genre painting, inspired by Dutch art.

Category:Paintings by Jean-Baptiste Greuze

Category:Paintings in the National Museum, Warsaw


The Guitar Player (Greuze)

Prompt: In The Guitar Player (Greuze), how is the abstract discussed?

The Guitar Player or The Guitarist is a c. 1757 oil-on-canvas painting by the French artist Jean-Baptiste Greuze, produced during his stay in Rome. It is now on display in Room VII (part of the Italian and French rooms) at the National Museum, Warsaw (inv. No. M. Ob. 914). It shows a young man tuning a guitar, with hunting accessories in the left background symbolising his being a bird-hunter (a common symbol for a seducer).The work was first exhibited at the Paris Salon in 1757 – a second autograph version is now in the Musée des Beaux-Arts in Nantes, the artist's hometown. Art historians argue that both versions are examples of genre painting, inspired by Dutch art.

Category:Paintings by Jean-Baptiste Greuze

Category:Paintings in the National Museum, Warsaw


The Guitar Player (Greuze)

Prompt: Focus on The Guitar Player (Greuze) and explain the Provenance.

Previously owned by JBL Boyer de Fonscolombe, in the mid-19th century it was purchased by Ksawery Branicki, who around 1900 took it to Poland, where it was housed at Rose Branicka's home on Nowy Świat in Warsaw and in Wilanów. In 1926, when the Branicki estate was divided between three heirs, the painting passed to Branickich Reyowej of the Branicki family, who took it to Przecław.During World War II, the picture was hidden near Kraków. When the family decided to leave Poland before the Russian invasion, its artworks were moved as part of the 'Sapieżyński store' to the Metropolitan Curia's stores in Kraków. In 1952 the state confiscated the works in the 'Sapieżyński store' and in 1954 the work was placed in its present home. In 1990, 1997 and 2003, three different heirs of the painting's pre-war owners took legal steps to recover it. Two court hearings were held, one ordering the work to be returned and the second reversing that decision.

Category:Paintings by Jean-Baptiste Greuze

Category:Paintings in the National Museum, Warsaw


The Guitar Player (Greuze)

Prompt: Explain the Provenance of this artwork, The Guitar Player (Greuze).

Previously owned by JBL Boyer de Fonscolombe, in the mid-19th century it was purchased by Ksawery Branicki, who around 1900 took it to Poland, where it was housed at Rose Branicka's home on Nowy Świat in Warsaw and in Wilanów. In 1926, when the Branicki estate was divided between three heirs, the painting passed to Branickich Reyowej of the Branicki family, who took it to Przecław.During World War II, the picture was hidden near Kraków. When the family decided to leave Poland before the Russian invasion, its artworks were moved as part of the 'Sapieżyński store' to the Metropolitan Curia's stores in Kraków. In 1952 the state confiscated the works in the 'Sapieżyński store' and in 1954 the work was placed in its present home. In 1990, 1997 and 2003, three different heirs of the painting's pre-war owners took legal steps to recover it. Two court hearings were held, one ordering the work to be returned and the second reversing that decision.

Category:Paintings by Jean-Baptiste Greuze

Category:Paintings in the National Museum, Warsaw


The Guitar Player (Greuze)

Prompt: How does The Guitar Player (Greuze) explain its Provenance?

Previously owned by JBL Boyer de Fonscolombe, in the mid-19th century it was purchased by Ksawery Branicki, who around 1900 took it to Poland, where it was housed at Rose Branicka's home on Nowy Świat in Warsaw and in Wilanów. In 1926, when the Branicki estate was divided between three heirs, the painting passed to Branickich Reyowej of the Branicki family, who took it to Przecław.During World War II, the picture was hidden near Kraków. When the family decided to leave Poland before the Russian invasion, its artworks were moved as part of the 'Sapieżyński store' to the Metropolitan Curia's stores in Kraków. In 1952 the state confiscated the works in the 'Sapieżyński store' and in 1954 the work was placed in its present home. In 1990, 1997 and 2003, three different heirs of the painting's pre-war owners took legal steps to recover it. Two court hearings were held, one ordering the work to be returned and the second reversing that decision.

Category:Paintings by Jean-Baptiste Greuze

Category:Paintings in the National Museum, Warsaw


The Guitar Player (Greuze)

Prompt: In The Guitar Player (Greuze), how is the Provenance discussed?

Previously owned by JBL Boyer de Fonscolombe, in the mid-19th century it was purchased by Ksawery Branicki, who around 1900 took it to Poland, where it was housed at Rose Branicka's home on Nowy Świat in Warsaw and in Wilanów. In 1926, when the Branicki estate was divided between three heirs, the painting passed to Branickich Reyowej of the Branicki family, who took it to Przecław.During World War II, the picture was hidden near Kraków. When the family decided to leave Poland before the Russian invasion, its artworks were moved as part of the 'Sapieżyński store' to the Metropolitan Curia's stores in Kraków. In 1952 the state confiscated the works in the 'Sapieżyński store' and in 1954 the work was placed in its present home. In 1990, 1997 and 2003, three different heirs of the painting's pre-war owners took legal steps to recover it. Two court hearings were held, one ordering the work to be returned and the second reversing that decision.

Category:Paintings by Jean-Baptiste Greuze

Category:Paintings in the National Museum, Warsaw


Beimen Crystal Church

Prompt: Focus on Beimen Crystal Church and explain the abstract.

The Beimen Crystal Church (traditional Chinese: 北門水晶教堂; simplified Chinese: 北门水晶教堂; pinyin: Běimén Shuǐjīng Jiàotáng) is an art installation in Beimen District, Tainan, Taiwan. The structure was opened in October 2014. Despite its name, it is not consecrated as a church but is occasionally used as a chapel for weddings.

Category:Buildings and structures completed in 2014

Category:Buildings and structures in Tainan


Beimen Crystal Church

Prompt: Explain the abstract of this artwork, Beimen Crystal Church.

The Beimen Crystal Church (traditional Chinese: 北門水晶教堂; simplified Chinese: 北门水晶教堂; pinyin: Běimén Shuǐjīng Jiàotáng) is an art installation in Beimen District, Tainan, Taiwan. The structure was opened in October 2014. Despite its name, it is not consecrated as a church but is occasionally used as a chapel for weddings.

Category:Buildings and structures completed in 2014

Category:Buildings and structures in Tainan


Beimen Crystal Church

Prompt: How does Beimen Crystal Church explain its abstract?

The Beimen Crystal Church (traditional Chinese: 北門水晶教堂; simplified Chinese: 北门水晶教堂; pinyin: Běimén Shuǐjīng Jiàotáng) is an art installation in Beimen District, Tainan, Taiwan. The structure was opened in October 2014. Despite its name, it is not consecrated as a church but is occasionally used as a chapel for weddings.

Category:Buildings and structures completed in 2014

Category:Buildings and structures in Tainan


Beimen Crystal Church

Prompt: In Beimen Crystal Church, how is the abstract discussed?

The Beimen Crystal Church (traditional Chinese: 北門水晶教堂; simplified Chinese: 北门水晶教堂; pinyin: Běimén Shuǐjīng Jiàotáng) is an art installation in Beimen District, Tainan, Taiwan. The structure was opened in October 2014. Despite its name, it is not consecrated as a church but is occasionally used as a chapel for weddings.

Category:Buildings and structures completed in 2014

Category:Buildings and structures in Tainan


Beimen Crystal Church

Prompt: Focus on Beimen Crystal Church and explain the Architecture.

The structure was designed with transparent color and decorated with many outdoor art installations located at the side of a lake. It features a square stone in the shape of a piano. The visitor center is painted with various love-shaped theme artworks.

Category:Buildings and structures completed in 2014

Category:Buildings and structures in Tainan


Beimen Crystal Church

Prompt: Explain the Architecture of this artwork, Beimen Crystal Church.

The structure was designed with transparent color and decorated with many outdoor art installations located at the side of a lake. It features a square stone in the shape of a piano. The visitor center is painted with various love-shaped theme artworks.

Category:Buildings and structures completed in 2014

Category:Buildings and structures in Tainan


Beimen Crystal Church

Prompt: How does Beimen Crystal Church explain its Architecture?

The structure was designed with transparent color and decorated with many outdoor art installations located at the side of a lake. It features a square stone in the shape of a piano. The visitor center is painted with various love-shaped theme artworks.

Category:Buildings and structures completed in 2014

Category:Buildings and structures in Tainan


Beimen Crystal Church

Prompt: In Beimen Crystal Church, how is the Architecture discussed?

The structure was designed with transparent color and decorated with many outdoor art installations located at the side of a lake. It features a square stone in the shape of a piano. The visitor center is painted with various love-shaped theme artworks.

Category:Buildings and structures completed in 2014

Category:Buildings and structures in Tainan


Beimen Crystal Church

Prompt: Focus on Beimen Crystal Church and explain the Transportation.

The structure is accessible by bus from Xinying Station of Taiwan Railways.

Category:Buildings and structures completed in 2014

Category:Buildings and structures in Tainan


Beimen Crystal Church

Prompt: Explain the Transportation of this artwork, Beimen Crystal Church.

The structure is accessible by bus from Xinying Station of Taiwan Railways.

Category:Buildings and structures completed in 2014

Category:Buildings and structures in Tainan


Beimen Crystal Church

Prompt: How does Beimen Crystal Church explain its Transportation?

The structure is accessible by bus from Xinying Station of Taiwan Railways.

Category:Buildings and structures completed in 2014

Category:Buildings and structures in Tainan


Beimen Crystal Church

Prompt: In Beimen Crystal Church, how is the Transportation discussed?

The structure is accessible by bus from Xinying Station of Taiwan Railways.

Category:Buildings and structures completed in 2014

Category:Buildings and structures in Tainan


Avenue of Poplars near Moret-sur-Loing

Prompt: Focus on Avenue of Poplars near Moret-sur-Loing and explain the abstract.

Avenue of Poplars near Moret-sur-Loing is an 1890 painting by Alfred Sisley. It is held by the Musée d'Orsay, in Paris.

Musée d'Orsay
Category:1890 paintings
Paris
Category:Stolen works of art
Musée des Beaux-Arts de Nice
Musée des beaux-arts de Nice
Category:Paintings in the Musée d'Orsay
Louvre
Alfred Sisley
List of paintings by Alfred Sisley
Category:Cityscapes
Category:Paintings by Alfred Sisley
Hermann Brandl


Avenue of Poplars near Moret-sur-Loing

Prompt: Explain the abstract of this artwork, Avenue of Poplars near Moret-sur-Loing.

Avenue of Poplars near Moret-sur-Loing is an 1890 painting by Alfred Sisley. It is held by the Musée d'Orsay, in Paris.

Musée d'Orsay
Category:1890 paintings
Paris
Category:Stolen works of art
Musée des Beaux-Arts de Nice
Musée des beaux-arts de Nice
Category:Paintings in the Musée d'Orsay
Louvre
Alfred Sisley
List of paintings by Alfred Sisley
Category:Cityscapes
Category:Paintings by Alfred Sisley
Hermann Brandl


Avenue of Poplars near Moret-sur-Loing

Prompt: How does Avenue of Poplars near Moret-sur-Loing explain its abstract?

Avenue of Poplars near Moret-sur-Loing is an 1890 painting by Alfred Sisley. It is held by the Musée d'Orsay, in Paris.

Musée d'Orsay
Category:1890 paintings
Paris
Category:Stolen works of art
Musée des Beaux-Arts de Nice
Musée des beaux-arts de Nice
Category:Paintings in the Musée d'Orsay
Louvre
Alfred Sisley
List of paintings by Alfred Sisley
Category:Cityscapes
Category:Paintings by Alfred Sisley
Hermann Brandl


Avenue of Poplars near Moret-sur-Loing

Prompt: In Avenue of Poplars near Moret-sur-Loing, how is the abstract discussed?

Avenue of Poplars near Moret-sur-Loing is an 1890 painting by Alfred Sisley. It is held by the Musée d'Orsay, in Paris.

Musée d'Orsay
Category:1890 paintings
Paris
Category:Stolen works of art
Musée des Beaux-Arts de Nice
Musée des beaux-arts de Nice
Category:Paintings in the Musée d'Orsay
Louvre
Alfred Sisley
List of paintings by Alfred Sisley
Category:Cityscapes
Category:Paintings by Alfred Sisley
Hermann Brandl


Avenue of Poplars near Moret-sur-Loing

Prompt: Focus on Avenue of Poplars near Moret-sur-Loing and explain the Provenance.

It was rediscovered in a private house in Kölblöd, Bavaria, Germany in 1949 after being bought on the black market or seized by Hermann Brandl. It was returned to France on 3 June that year and assigned to the Louvre two years later by the Office des Biens et Intérêts Privés.It was then stolen from the Louvre in 1978 but recovered the following year, before being stolen again in 2007 from the store of the Musée des beaux-arts de Nice, then recovered again in 2008. It is now in the Musée d'Orsay in Paris.

Musée d'Orsay
Category:1890 paintings
Paris
Category:Stolen works of art
Musée des Beaux-Arts de Nice
Musée des beaux-arts de Nice
Category:Paintings in the Musée d'Orsay
Louvre
Alfred Sisley
List of paintings by Alfred Sisley
Category:Cityscapes
Category:Paintings by Alfred Sisley
Hermann Brandl


Avenue of Poplars near Moret-sur-Loing

Prompt: Explain the Provenance of this artwork, Avenue of Poplars near Moret-sur-Loing.

It was rediscovered in a private house in Kölblöd, Bavaria, Germany in 1949 after being bought on the black market or seized by Hermann Brandl. It was returned to France on 3 June that year and assigned to the Louvre two years later by the Office des Biens et Intérêts Privés.It was then stolen from the Louvre in 1978 but recovered the following year, before being stolen again in 2007 from the store of the Musée des beaux-arts de Nice, then recovered again in 2008. It is now in the Musée d'Orsay in Paris.

Musée d'Orsay
Category:1890 paintings
Paris
Category:Stolen works of art
Musée des Beaux-Arts de Nice
Musée des beaux-arts de Nice
Category:Paintings in the Musée d'Orsay
Louvre
Alfred Sisley
List of paintings by Alfred Sisley
Category:Cityscapes
Category:Paintings by Alfred Sisley
Hermann Brandl


Avenue of Poplars near Moret-sur-Loing

Prompt: How does Avenue of Poplars near Moret-sur-Loing explain its Provenance?

It was rediscovered in a private house in Kölblöd, Bavaria, Germany in 1949 after being bought on the black market or seized by Hermann Brandl. It was returned to France on 3 June that year and assigned to the Louvre two years later by the Office des Biens et Intérêts Privés.It was then stolen from the Louvre in 1978 but recovered the following year, before being stolen again in 2007 from the store of the Musée des beaux-arts de Nice, then recovered again in 2008. It is now in the Musée d'Orsay in Paris.

Musée d'Orsay
Category:1890 paintings
Paris
Category:Stolen works of art
Musée des Beaux-Arts de Nice
Musée des beaux-arts de Nice
Category:Paintings in the Musée d'Orsay
Louvre
Alfred Sisley
List of paintings by Alfred Sisley
Category:Cityscapes
Category:Paintings by Alfred Sisley
Hermann Brandl


Avenue of Poplars near Moret-sur-Loing

Prompt: In Avenue of Poplars near Moret-sur-Loing, how is the Provenance discussed?

It was rediscovered in a private house in Kölblöd, Bavaria, Germany in 1949 after being bought on the black market or seized by Hermann Brandl. It was returned to France on 3 June that year and assigned to the Louvre two years later by the Office des Biens et Intérêts Privés.It was then stolen from the Louvre in 1978 but recovered the following year, before being stolen again in 2007 from the store of the Musée des beaux-arts de Nice, then recovered again in 2008. It is now in the Musée d'Orsay in Paris.

Musée d'Orsay
Category:1890 paintings
Paris
Category:Stolen works of art
Musée des Beaux-Arts de Nice
Musée des beaux-arts de Nice
Category:Paintings in the Musée d'Orsay
Louvre
Alfred Sisley
List of paintings by Alfred Sisley
Category:Cityscapes
Category:Paintings by Alfred Sisley
Hermann Brandl


La Tirana (Goya, 1792)

Prompt: Focus on La Tirana (Goya, 1792) and explain the abstract.

La Tirana is an oil on canvas portrait by Francisco de Goya. Previously dated to 1799 due to a later pencil inscription, it is now dated to 1790–1792 by the Goya scholars José Gudiol and José Manuel Pita Andrade. It is now in the Real Academia de Bellas Artes de San Fernando in Madrid.It is the first of two portraits he produced of the actress María del Rosario Fernández, known as 'La Tirana' after her actor husband Francisco Castellanos, who was nicknamed el Tirano. The other is in a private collection.

Category:Paintings in the Real Academia de Bellas Artes de San Fernando


La Tirana (Goya, 1792)

Prompt: Explain the abstract of this artwork, La Tirana (Goya, 1792).

La Tirana is an oil on canvas portrait by Francisco de Goya. Previously dated to 1799 due to a later pencil inscription, it is now dated to 1790–1792 by the Goya scholars José Gudiol and José Manuel Pita Andrade. It is now in the Real Academia de Bellas Artes de San Fernando in Madrid.It is the first of two portraits he produced of the actress María del Rosario Fernández, known as 'La Tirana' after her actor husband Francisco Castellanos, who was nicknamed el Tirano. The other is in a private collection.

Category:Paintings in the Real Academia de Bellas Artes de San Fernando


La Tirana (Goya, 1792)

Prompt: How does La Tirana (Goya, 1792) explain its abstract?

La Tirana is an oil on canvas portrait by Francisco de Goya. Previously dated to 1799 due to a later pencil inscription, it is now dated to 1790–1792 by the Goya scholars José Gudiol and José Manuel Pita Andrade. It is now in the Real Academia de Bellas Artes de San Fernando in Madrid.It is the first of two portraits he produced of the actress María del Rosario Fernández, known as 'La Tirana' after her actor husband Francisco Castellanos, who was nicknamed el Tirano. The other is in a private collection.

Category:Paintings in the Real Academia de Bellas Artes de San Fernando


La Tirana (Goya, 1792)

Prompt: In La Tirana (Goya, 1792), how is the abstract discussed?

La Tirana is an oil on canvas portrait by Francisco de Goya. Previously dated to 1799 due to a later pencil inscription, it is now dated to 1790–1792 by the Goya scholars José Gudiol and José Manuel Pita Andrade. It is now in the Real Academia de Bellas Artes de San Fernando in Madrid.It is the first of two portraits he produced of the actress María del Rosario Fernández, known as 'La Tirana' after her actor husband Francisco Castellanos, who was nicknamed el Tirano. The other is in a private collection.

Category:Paintings in the Real Academia de Bellas Artes de San Fernando


La Tirana (Goya, 1792)

Prompt: Focus on La Tirana (Goya, 1792) and explain the Bibliography (in Spanish).

Glendinning, Nigel (1992). Central Hispano, ed. Goya. La década de los Caprichos. pp. 148-149. ISBN 84-87181-10-4.Gómez García, Manuel (1998). Diccionario Akal de Teatro. Ediciones Akal. ISBN 9788446008279.Huerta, Javier; Peral, Emilio; Urzaiz, Héctor (2005). Espasa-Calpe, ed. Teatro español de la A a la Z. Madrid. ISBN 9788467019698.

Category:Paintings in the Real Academia de Bellas Artes de San Fernando


La Tirana (Goya, 1792)

Prompt: Explain the Bibliography (in Spanish) of this artwork, La Tirana (Goya, 1792).

Glendinning, Nigel (1992). Central Hispano, ed. Goya. La década de los Caprichos. pp. 148-149. ISBN 84-87181-10-4.Gómez García, Manuel (1998). Diccionario Akal de Teatro. Ediciones Akal. ISBN 9788446008279.Huerta, Javier; Peral, Emilio; Urzaiz, Héctor (2005). Espasa-Calpe, ed. Teatro español de la A a la Z. Madrid. ISBN 9788467019698.

Category:Paintings in the Real Academia de Bellas Artes de San Fernando


La Tirana (Goya, 1792)

Prompt: How does La Tirana (Goya, 1792) explain its Bibliography (in Spanish)?

Glendinning, Nigel (1992). Central Hispano, ed. Goya. La década de los Caprichos. pp. 148-149. ISBN 84-87181-10-4.Gómez García, Manuel (1998). Diccionario Akal de Teatro. Ediciones Akal. ISBN 9788446008279.Huerta, Javier; Peral, Emilio; Urzaiz, Héctor (2005). Espasa-Calpe, ed. Teatro español de la A a la Z. Madrid. ISBN 9788467019698.

Category:Paintings in the Real Academia de Bellas Artes de San Fernando


La Tirana (Goya, 1792)

Prompt: In La Tirana (Goya, 1792), how is the Bibliography (in Spanish) discussed?

Glendinning, Nigel (1992). Central Hispano, ed. Goya. La década de los Caprichos. pp. 148-149. ISBN 84-87181-10-4.Gómez García, Manuel (1998). Diccionario Akal de Teatro. Ediciones Akal. ISBN 9788446008279.Huerta, Javier; Peral, Emilio; Urzaiz, Héctor (2005). Espasa-Calpe, ed. Teatro español de la A a la Z. Madrid. ISBN 9788467019698.

Category:Paintings in the Real Academia de Bellas Artes de San Fernando


Judgement of Paris Amphora

Prompt: Focus on Judgement of Paris Amphora and explain the abstract.

The Judgement of Paris Amphora (French: amphore du Jugement de Pâris) is an Attic black-figure amphora named for the scene depicted on it. It is held by the Musée des beaux-arts de Lyon with the inventory number E 581-c and is attributed to the London B76 Painter, who was active at Athens in the second quarter of the sixth century BC.

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg


Judgement of Paris Amphora

Prompt: Explain the abstract of this artwork, Judgement of Paris Amphora.

The Judgement of Paris Amphora (French: amphore du Jugement de Pâris) is an Attic black-figure amphora named for the scene depicted on it. It is held by the Musée des beaux-arts de Lyon with the inventory number E 581-c and is attributed to the London B76 Painter, who was active at Athens in the second quarter of the sixth century BC.

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg


Judgement of Paris Amphora

Prompt: How does Judgement of Paris Amphora explain its abstract?

The Judgement of Paris Amphora (French: amphore du Jugement de Pâris) is an Attic black-figure amphora named for the scene depicted on it. It is held by the Musée des beaux-arts de Lyon with the inventory number E 581-c and is attributed to the London B76 Painter, who was active at Athens in the second quarter of the sixth century BC.

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg


Judgement of Paris Amphora

Prompt: In Judgement of Paris Amphora, how is the abstract discussed?

The Judgement of Paris Amphora (French: amphore du Jugement de Pâris) is an Attic black-figure amphora named for the scene depicted on it. It is held by the Musée des beaux-arts de Lyon with the inventory number E 581-c and is attributed to the London B76 Painter, who was active at Athens in the second quarter of the sixth century BC.

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg


Judgement of Paris Amphora

Prompt: Focus on Judgement of Paris Amphora and explain the History.

The amphora was made around 575–550 BC, during the Archaic Period and the tyranny of Peisistratus at Athens.The amphora is a piece of black-figure pottery, deriving from the region of Attica, which is located in Mainland Greece to the south of Boeotia, with Athens as its capital.The work is now stored in the Musée des beaux-arts de Lyon under the inventory number E 581-c, in the department of antiquities. It was a donation of Joseph Gillet in 1923. In January 1995 the amphora was cleaned using steam and cotton swabs with water and a little ammonia. It was then buffed with soft fibreglass and the missing half of its foot was reconstructed in plaster. This returned the vase to a good state, though some scratches remain around the neck and the red part of the surface is damaged.

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg


Judgement of Paris Amphora

Prompt: Explain the History of this artwork, Judgement of Paris Amphora.

The amphora was made around 575–550 BC, during the Archaic Period and the tyranny of Peisistratus at Athens.The amphora is a piece of black-figure pottery, deriving from the region of Attica, which is located in Mainland Greece to the south of Boeotia, with Athens as its capital.The work is now stored in the Musée des beaux-arts de Lyon under the inventory number E 581-c, in the department of antiquities. It was a donation of Joseph Gillet in 1923. In January 1995 the amphora was cleaned using steam and cotton swabs with water and a little ammonia. It was then buffed with soft fibreglass and the missing half of its foot was reconstructed in plaster. This returned the vase to a good state, though some scratches remain around the neck and the red part of the surface is damaged.

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg


Judgement of Paris Amphora

Prompt: How does Judgement of Paris Amphora explain its History?

The amphora was made around 575–550 BC, during the Archaic Period and the tyranny of Peisistratus at Athens.The amphora is a piece of black-figure pottery, deriving from the region of Attica, which is located in Mainland Greece to the south of Boeotia, with Athens as its capital.The work is now stored in the Musée des beaux-arts de Lyon under the inventory number E 581-c, in the department of antiquities. It was a donation of Joseph Gillet in 1923. In January 1995 the amphora was cleaned using steam and cotton swabs with water and a little ammonia. It was then buffed with soft fibreglass and the missing half of its foot was reconstructed in plaster. This returned the vase to a good state, though some scratches remain around the neck and the red part of the surface is damaged.

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg


Judgement of Paris Amphora

Prompt: In Judgement of Paris Amphora, how is the History discussed?

The amphora was made around 575–550 BC, during the Archaic Period and the tyranny of Peisistratus at Athens.The amphora is a piece of black-figure pottery, deriving from the region of Attica, which is located in Mainland Greece to the south of Boeotia, with Athens as its capital.The work is now stored in the Musée des beaux-arts de Lyon under the inventory number E 581-c, in the department of antiquities. It was a donation of Joseph Gillet in 1923. In January 1995 the amphora was cleaned using steam and cotton swabs with water and a little ammonia. It was then buffed with soft fibreglass and the missing half of its foot was reconstructed in plaster. This returned the vase to a good state, though some scratches remain around the neck and the red part of the surface is damaged.

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg


Judgement of Paris Amphora

Prompt: Focus on Judgement of Paris Amphora and explain the Description.

The amphora has a figural scene on each of its two faces. These scenes are supplemented by floral patterns above the figural scenes and around the lip of the vase, which are identical on both sides. In this period the vegetation decorating painted vases is becoming stylised and symbolic.The scenes are framed like paintings, but the frame widens as the amphora bulges outwards. The background colour of the scenes reappears at the lip and foot of the amphora.On face A there are three Greek goddesses: Hera, Athena and Aphrodite dressed in himations, the traditional women's overgarment. Each woman holds a crown in her hand as an offering. The women are led by Hermes in the direction of Paris. The scene, therefore is the Judgement of Paris, which first appeared on Attic vases around 575 bc. The indifference displayed by the three goddesses and the tranquil assurance of Paris' face indicate that this vase was among the first depictions of this subject. Following convention, the individuals are represented in profile. Details are incised or highlighted with colour and tend towards realism, notably on the clothes.On face B there is a battle between two armoured hoplites, wielding spears, their legs protected by greaves, their heads by Corinthian helmets, their bodies by aspides (round shields, secured to the forearm by a central strap and moved with a handle.)

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg


Judgement of Paris Amphora

Prompt: Explain the Description of this artwork, Judgement of Paris Amphora.

The amphora has a figural scene on each of its two faces. These scenes are supplemented by floral patterns above the figural scenes and around the lip of the vase, which are identical on both sides. In this period the vegetation decorating painted vases is becoming stylised and symbolic.The scenes are framed like paintings, but the frame widens as the amphora bulges outwards. The background colour of the scenes reappears at the lip and foot of the amphora.On face A there are three Greek goddesses: Hera, Athena and Aphrodite dressed in himations, the traditional women's overgarment. Each woman holds a crown in her hand as an offering. The women are led by Hermes in the direction of Paris. The scene, therefore is the Judgement of Paris, which first appeared on Attic vases around 575 bc. The indifference displayed by the three goddesses and the tranquil assurance of Paris' face indicate that this vase was among the first depictions of this subject. Following convention, the individuals are represented in profile. Details are incised or highlighted with colour and tend towards realism, notably on the clothes.On face B there is a battle between two armoured hoplites, wielding spears, their legs protected by greaves, their heads by Corinthian helmets, their bodies by aspides (round shields, secured to the forearm by a central strap and moved with a handle.)

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg


Judgement of Paris Amphora

Prompt: How does Judgement of Paris Amphora explain its Description?

The amphora has a figural scene on each of its two faces. These scenes are supplemented by floral patterns above the figural scenes and around the lip of the vase, which are identical on both sides. In this period the vegetation decorating painted vases is becoming stylised and symbolic.The scenes are framed like paintings, but the frame widens as the amphora bulges outwards. The background colour of the scenes reappears at the lip and foot of the amphora.On face A there are three Greek goddesses: Hera, Athena and Aphrodite dressed in himations, the traditional women's overgarment. Each woman holds a crown in her hand as an offering. The women are led by Hermes in the direction of Paris. The scene, therefore is the Judgement of Paris, which first appeared on Attic vases around 575 bc. The indifference displayed by the three goddesses and the tranquil assurance of Paris' face indicate that this vase was among the first depictions of this subject. Following convention, the individuals are represented in profile. Details are incised or highlighted with colour and tend towards realism, notably on the clothes.On face B there is a battle between two armoured hoplites, wielding spears, their legs protected by greaves, their heads by Corinthian helmets, their bodies by aspides (round shields, secured to the forearm by a central strap and moved with a handle.)

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg


Judgement of Paris Amphora

Prompt: In Judgement of Paris Amphora, how is the Description discussed?

The amphora has a figural scene on each of its two faces. These scenes are supplemented by floral patterns above the figural scenes and around the lip of the vase, which are identical on both sides. In this period the vegetation decorating painted vases is becoming stylised and symbolic.The scenes are framed like paintings, but the frame widens as the amphora bulges outwards. The background colour of the scenes reappears at the lip and foot of the amphora.On face A there are three Greek goddesses: Hera, Athena and Aphrodite dressed in himations, the traditional women's overgarment. Each woman holds a crown in her hand as an offering. The women are led by Hermes in the direction of Paris. The scene, therefore is the Judgement of Paris, which first appeared on Attic vases around 575 bc. The indifference displayed by the three goddesses and the tranquil assurance of Paris' face indicate that this vase was among the first depictions of this subject. Following convention, the individuals are represented in profile. Details are incised or highlighted with colour and tend towards realism, notably on the clothes.On face B there is a battle between two armoured hoplites, wielding spears, their legs protected by greaves, their heads by Corinthian helmets, their bodies by aspides (round shields, secured to the forearm by a central strap and moved with a handle.)

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg


Judgement of Paris Amphora

Prompt: Focus on Judgement of Paris Amphora and explain the Context.

The word amphora derives from the Greek amphi- (on both sides) and -phoros (carrier). They are terracotta vases of variable size with two vertical handles, by which they are carried on both sides, designed for the transport and storage of liquids (principally olive oil and wine). They could be painted on their bellies (as in this case).A large portion of Athenian pottery was produced by the Group of Haimon and the Leafless Group, and was carried thence to ports around the Mediterranean. The rest was produced for local use, specifically mixing, storing and transporting wine and oil.Attic pottery was valued in the sanctuaries of the Etruscans, where they had additional roles: cultic ritual, banqueting and votive offerings. These vases were bought specially for a given occasion and signified a dedication to a divinity. Generally, Attic cups were common while amphorae were rare.

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg


Judgement of Paris Amphora

Prompt: Explain the Context of this artwork, Judgement of Paris Amphora.

The word amphora derives from the Greek amphi- (on both sides) and -phoros (carrier). They are terracotta vases of variable size with two vertical handles, by which they are carried on both sides, designed for the transport and storage of liquids (principally olive oil and wine). They could be painted on their bellies (as in this case).A large portion of Athenian pottery was produced by the Group of Haimon and the Leafless Group, and was carried thence to ports around the Mediterranean. The rest was produced for local use, specifically mixing, storing and transporting wine and oil.Attic pottery was valued in the sanctuaries of the Etruscans, where they had additional roles: cultic ritual, banqueting and votive offerings. These vases were bought specially for a given occasion and signified a dedication to a divinity. Generally, Attic cups were common while amphorae were rare.

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg


Judgement of Paris Amphora

Prompt: How does Judgement of Paris Amphora explain its Context?

The word amphora derives from the Greek amphi- (on both sides) and -phoros (carrier). They are terracotta vases of variable size with two vertical handles, by which they are carried on both sides, designed for the transport and storage of liquids (principally olive oil and wine). They could be painted on their bellies (as in this case).A large portion of Athenian pottery was produced by the Group of Haimon and the Leafless Group, and was carried thence to ports around the Mediterranean. The rest was produced for local use, specifically mixing, storing and transporting wine and oil.Attic pottery was valued in the sanctuaries of the Etruscans, where they had additional roles: cultic ritual, banqueting and votive offerings. These vases were bought specially for a given occasion and signified a dedication to a divinity. Generally, Attic cups were common while amphorae were rare.

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg


Judgement of Paris Amphora

Prompt: In Judgement of Paris Amphora, how is the Context discussed?

The word amphora derives from the Greek amphi- (on both sides) and -phoros (carrier). They are terracotta vases of variable size with two vertical handles, by which they are carried on both sides, designed for the transport and storage of liquids (principally olive oil and wine). They could be painted on their bellies (as in this case).A large portion of Athenian pottery was produced by the Group of Haimon and the Leafless Group, and was carried thence to ports around the Mediterranean. The rest was produced for local use, specifically mixing, storing and transporting wine and oil.Attic pottery was valued in the sanctuaries of the Etruscans, where they had additional roles: cultic ritual, banqueting and votive offerings. These vases were bought specially for a given occasion and signified a dedication to a divinity. Generally, Attic cups were common while amphorae were rare.

Category:Antiquities in the Museum of Fine Arts of Lyon

File:Amphore - Le jugement de Pâris (face B).jpg