Allegory of Patience (Vasari)

Prompt: Explain the Provenance of this artwork, Allegory of Patience (Vasari).

The painting was acquired by the investor Gary Klesch and his wife Anita and identified as Vasari's Allegory of Patience by Carlo Falciani, an art historian at the Accademia di Belle Arti di Firenze.

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects


Allegory of Patience (Vasari)

Prompt: How does Allegory of Patience (Vasari) explain its Provenance?

The painting was acquired by the investor Gary Klesch and his wife Anita and identified as Vasari's Allegory of Patience by Carlo Falciani, an art historian at the Accademia di Belle Arti di Firenze.

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects


Allegory of Patience (Vasari)

Prompt: In Allegory of Patience (Vasari), how is the Provenance discussed?

The painting was acquired by the investor Gary Klesch and his wife Anita and identified as Vasari's Allegory of Patience by Carlo Falciani, an art historian at the Accademia di Belle Arti di Firenze.

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects


The Anxious City

Prompt: Focus on The Anxious City and explain the abstract.

The Anxious City (French: La ville inquiète) is a painting made by Paul Delvaux in 1940–1941. It depicts a large number of upset people, most of whom are nude or partially nude, in front of a lake and classical structures. Among the characters who stand out are a naked self-portrait of Delvaux, a man in a bowler hat and a group of bare-breasted women. The man with the bowler hat made his debut in The Anxious City and would appear in several other Delvaux paintings.Critics have focused on The Anxious City's complex composition, disquiet atmosphere and possible origin as a reaction to the German invasion of Belgium. It has been compared to works by Antoine Caron, Nicolas Poussin and René Magritte. The Anxious City was first exhibited in Brussels in 1944 and was part of the 1954 Venice Biennale. It was last sold at auction in 1998.

Apocalyptic and post-apocalyptic fiction


The Anxious City

Prompt: Explain the abstract of this artwork, The Anxious City.

The Anxious City (French: La ville inquiète) is a painting made by Paul Delvaux in 1940–1941. It depicts a large number of upset people, most of whom are nude or partially nude, in front of a lake and classical structures. Among the characters who stand out are a naked self-portrait of Delvaux, a man in a bowler hat and a group of bare-breasted women. The man with the bowler hat made his debut in The Anxious City and would appear in several other Delvaux paintings.Critics have focused on The Anxious City's complex composition, disquiet atmosphere and possible origin as a reaction to the German invasion of Belgium. It has been compared to works by Antoine Caron, Nicolas Poussin and René Magritte. The Anxious City was first exhibited in Brussels in 1944 and was part of the 1954 Venice Biennale. It was last sold at auction in 1998.

Apocalyptic and post-apocalyptic fiction


The Anxious City

Prompt: How does The Anxious City explain its abstract?

The Anxious City (French: La ville inquiète) is a painting made by Paul Delvaux in 1940–1941. It depicts a large number of upset people, most of whom are nude or partially nude, in front of a lake and classical structures. Among the characters who stand out are a naked self-portrait of Delvaux, a man in a bowler hat and a group of bare-breasted women. The man with the bowler hat made his debut in The Anxious City and would appear in several other Delvaux paintings.Critics have focused on The Anxious City's complex composition, disquiet atmosphere and possible origin as a reaction to the German invasion of Belgium. It has been compared to works by Antoine Caron, Nicolas Poussin and René Magritte. The Anxious City was first exhibited in Brussels in 1944 and was part of the 1954 Venice Biennale. It was last sold at auction in 1998.

Apocalyptic and post-apocalyptic fiction


The Anxious City

Prompt: In The Anxious City, how is the abstract discussed?

The Anxious City (French: La ville inquiète) is a painting made by Paul Delvaux in 1940–1941. It depicts a large number of upset people, most of whom are nude or partially nude, in front of a lake and classical structures. Among the characters who stand out are a naked self-portrait of Delvaux, a man in a bowler hat and a group of bare-breasted women. The man with the bowler hat made his debut in The Anxious City and would appear in several other Delvaux paintings.Critics have focused on The Anxious City's complex composition, disquiet atmosphere and possible origin as a reaction to the German invasion of Belgium. It has been compared to works by Antoine Caron, Nicolas Poussin and René Magritte. The Anxious City was first exhibited in Brussels in 1944 and was part of the 1954 Venice Biennale. It was last sold at auction in 1998.

Apocalyptic and post-apocalyptic fiction


The Anxious City

Prompt: Focus on The Anxious City and explain the Subject and composition.

The Anxious City is painted in oil on canvas and has the dimensions 200 by 247 centimetres (79 in × 97 in). The Belgian painter Paul Delvaux created it between May 1940 and May 1941. The setting is a barren landscape with a body of water in the background to the left. To the right are classical structures, including stairs, gates, temples and palaces. Spread around the picture are several naked or partially naked people who look anguished. To the left in the foreground is a self-portrait of Delvaux as a seated nude man who rests his head on his hand. Behind the self-portrait is an older man with glasses, a black suit, a white shirt with a stiff collar and a bowler hat. Near these men is a human skull on the ground. To the right, on a staircase, is another man in a suit who holds out his hat like a beggar. In the foreground to the right is a group of bare-breasted women who wear skirts, each in a different colour and held up by a bow at the front.Delvaux painted the man in the suit and bowler hat for the first time in The Anxious City and included him in several paintings over the next few years. This man typically appears unaware of his surroundings, whether he is among nude women or faces some catastrophe everybody else reacts to. Delvaux said he was based on a real person who walked by his house in Brussels every day. He wrote about the man's inclusion in The Anxious City:I observed him on a number of occasions. He impressed me, and when I was painting this picture his presence in it became obvious, necessary even. To be frank, he slid into the composition with no other justification than this: in the middle of that town prey to all kinds of worries, that town at its wit's end, there was this presence of an ordinary man who each day carried out the same task and took the same route. In light of the imminent collapse of the threatened city, he performed perhaps a second function that his customary mediocrity would in some respects contradict.

Apocalyptic and post-apocalyptic fiction


The Anxious City

Prompt: Explain the Subject and composition of this artwork, The Anxious City.

The Anxious City is painted in oil on canvas and has the dimensions 200 by 247 centimetres (79 in × 97 in). The Belgian painter Paul Delvaux created it between May 1940 and May 1941. The setting is a barren landscape with a body of water in the background to the left. To the right are classical structures, including stairs, gates, temples and palaces. Spread around the picture are several naked or partially naked people who look anguished. To the left in the foreground is a self-portrait of Delvaux as a seated nude man who rests his head on his hand. Behind the self-portrait is an older man with glasses, a black suit, a white shirt with a stiff collar and a bowler hat. Near these men is a human skull on the ground. To the right, on a staircase, is another man in a suit who holds out his hat like a beggar. In the foreground to the right is a group of bare-breasted women who wear skirts, each in a different colour and held up by a bow at the front.Delvaux painted the man in the suit and bowler hat for the first time in The Anxious City and included him in several paintings over the next few years. This man typically appears unaware of his surroundings, whether he is among nude women or faces some catastrophe everybody else reacts to. Delvaux said he was based on a real person who walked by his house in Brussels every day. He wrote about the man's inclusion in The Anxious City:I observed him on a number of occasions. He impressed me, and when I was painting this picture his presence in it became obvious, necessary even. To be frank, he slid into the composition with no other justification than this: in the middle of that town prey to all kinds of worries, that town at its wit's end, there was this presence of an ordinary man who each day carried out the same task and took the same route. In light of the imminent collapse of the threatened city, he performed perhaps a second function that his customary mediocrity would in some respects contradict.

Apocalyptic and post-apocalyptic fiction


The Anxious City

Prompt: How does The Anxious City explain its Subject and composition?

The Anxious City is painted in oil on canvas and has the dimensions 200 by 247 centimetres (79 in × 97 in). The Belgian painter Paul Delvaux created it between May 1940 and May 1941. The setting is a barren landscape with a body of water in the background to the left. To the right are classical structures, including stairs, gates, temples and palaces. Spread around the picture are several naked or partially naked people who look anguished. To the left in the foreground is a self-portrait of Delvaux as a seated nude man who rests his head on his hand. Behind the self-portrait is an older man with glasses, a black suit, a white shirt with a stiff collar and a bowler hat. Near these men is a human skull on the ground. To the right, on a staircase, is another man in a suit who holds out his hat like a beggar. In the foreground to the right is a group of bare-breasted women who wear skirts, each in a different colour and held up by a bow at the front.Delvaux painted the man in the suit and bowler hat for the first time in The Anxious City and included him in several paintings over the next few years. This man typically appears unaware of his surroundings, whether he is among nude women or faces some catastrophe everybody else reacts to. Delvaux said he was based on a real person who walked by his house in Brussels every day. He wrote about the man's inclusion in The Anxious City:I observed him on a number of occasions. He impressed me, and when I was painting this picture his presence in it became obvious, necessary even. To be frank, he slid into the composition with no other justification than this: in the middle of that town prey to all kinds of worries, that town at its wit's end, there was this presence of an ordinary man who each day carried out the same task and took the same route. In light of the imminent collapse of the threatened city, he performed perhaps a second function that his customary mediocrity would in some respects contradict.

Apocalyptic and post-apocalyptic fiction


The Anxious City

Prompt: In The Anxious City, how is the Subject and composition discussed?

The Anxious City is painted in oil on canvas and has the dimensions 200 by 247 centimetres (79 in × 97 in). The Belgian painter Paul Delvaux created it between May 1940 and May 1941. The setting is a barren landscape with a body of water in the background to the left. To the right are classical structures, including stairs, gates, temples and palaces. Spread around the picture are several naked or partially naked people who look anguished. To the left in the foreground is a self-portrait of Delvaux as a seated nude man who rests his head on his hand. Behind the self-portrait is an older man with glasses, a black suit, a white shirt with a stiff collar and a bowler hat. Near these men is a human skull on the ground. To the right, on a staircase, is another man in a suit who holds out his hat like a beggar. In the foreground to the right is a group of bare-breasted women who wear skirts, each in a different colour and held up by a bow at the front.Delvaux painted the man in the suit and bowler hat for the first time in The Anxious City and included him in several paintings over the next few years. This man typically appears unaware of his surroundings, whether he is among nude women or faces some catastrophe everybody else reacts to. Delvaux said he was based on a real person who walked by his house in Brussels every day. He wrote about the man's inclusion in The Anxious City:I observed him on a number of occasions. He impressed me, and when I was painting this picture his presence in it became obvious, necessary even. To be frank, he slid into the composition with no other justification than this: in the middle of that town prey to all kinds of worries, that town at its wit's end, there was this presence of an ordinary man who each day carried out the same task and took the same route. In light of the imminent collapse of the threatened city, he performed perhaps a second function that his customary mediocrity would in some respects contradict.

Apocalyptic and post-apocalyptic fiction


The Anxious City

Prompt: Focus on The Anxious City and explain the Analysis and reception.

In 1969, André Fermigier of Le Nouvel Observateur wrote that The Anxious City is Delvaux's masterpiece and highlighted its ambitious composition. He wrote that it recalls The Massacres of the Triumvirate by Antoine Caron, the depictions of panic in Nicolas Poussin's paintings and "bizarre mythologies of the Renaissance". Fermigier wrote that its elements are combined in a way that evokes the atmosphere of the time it was made. Ronny Cohen wrote for Artforum in 1985 that the complex composition turns the figures into symbols through their scale, positions and contrasts between neutrally coloured areas and red and yellow surfaces. He interpreted the painting as a work about death and the horror felt during World War II, contrasted by the suited man who emits a sense of reason, and by the bare-breasted women at the front, whose radiating skin made Cohen interpret them as goddesses who witness the tragedy of mortals.The art historian Virginie Devillers and the critic Eugénie De Keyser interpreted The Anxious City as a reaction to the German invasion of Belgium. De Keyser wrote that it stands out among Delvaux's paintings with its many preparatory studies, where place and people accumulate into an inescapable sense of disquiet. Devilliers connects the man in the suit and bowler hat to the paintings of René Magritte. She writes that the suited man, the women at the front and the naked, seated man, whom she describes as Delvaux portrayed as an ephebe, are "lost in their own dream", making them strangers to the mass of anxious people around them. The literary scholar John Fletcher writes that the painting projects "melancholy, disquiet and bafflement" in a way reminiscent of the novels of Alain Robbe-Grillet, especially Topology of a Phantom City (1976). The literary scholar Jeannette Baxter calls The Anxious City a post-apocalyptic work where people seem to be sleepwalking or traumatised. She writes that the crowded scene combined with a complete lack of eye contact between the figures creates "an overwhelming sense of loneliness".The Anxious City is referenced and features as an intertext in the post-apocalyptic novel The Drowned World by J. G. Ballard, published in 1962. The short story "Siestas" by Julio Cortázar, published in Último Round (1969), was inspired by several Delvaux paintings. The man in the suit from The Anxious City appears in a nightmare. In 1970, a detail from the painting was featured on a Belgian postage stamp.

Apocalyptic and post-apocalyptic fiction


The Anxious City

Prompt: Explain the Analysis and reception of this artwork, The Anxious City.

In 1969, André Fermigier of Le Nouvel Observateur wrote that The Anxious City is Delvaux's masterpiece and highlighted its ambitious composition. He wrote that it recalls The Massacres of the Triumvirate by Antoine Caron, the depictions of panic in Nicolas Poussin's paintings and "bizarre mythologies of the Renaissance". Fermigier wrote that its elements are combined in a way that evokes the atmosphere of the time it was made. Ronny Cohen wrote for Artforum in 1985 that the complex composition turns the figures into symbols through their scale, positions and contrasts between neutrally coloured areas and red and yellow surfaces. He interpreted the painting as a work about death and the horror felt during World War II, contrasted by the suited man who emits a sense of reason, and by the bare-breasted women at the front, whose radiating skin made Cohen interpret them as goddesses who witness the tragedy of mortals.The art historian Virginie Devillers and the critic Eugénie De Keyser interpreted The Anxious City as a reaction to the German invasion of Belgium. De Keyser wrote that it stands out among Delvaux's paintings with its many preparatory studies, where place and people accumulate into an inescapable sense of disquiet. Devilliers connects the man in the suit and bowler hat to the paintings of René Magritte. She writes that the suited man, the women at the front and the naked, seated man, whom she describes as Delvaux portrayed as an ephebe, are "lost in their own dream", making them strangers to the mass of anxious people around them. The literary scholar John Fletcher writes that the painting projects "melancholy, disquiet and bafflement" in a way reminiscent of the novels of Alain Robbe-Grillet, especially Topology of a Phantom City (1976). The literary scholar Jeannette Baxter calls The Anxious City a post-apocalyptic work where people seem to be sleepwalking or traumatised. She writes that the crowded scene combined with a complete lack of eye contact between the figures creates "an overwhelming sense of loneliness".The Anxious City is referenced and features as an intertext in the post-apocalyptic novel The Drowned World by J. G. Ballard, published in 1962. The short story "Siestas" by Julio Cortázar, published in Último Round (1969), was inspired by several Delvaux paintings. The man in the suit from The Anxious City appears in a nightmare. In 1970, a detail from the painting was featured on a Belgian postage stamp.

Apocalyptic and post-apocalyptic fiction


The Anxious City

Prompt: How does The Anxious City explain its Analysis and reception?

In 1969, André Fermigier of Le Nouvel Observateur wrote that The Anxious City is Delvaux's masterpiece and highlighted its ambitious composition. He wrote that it recalls The Massacres of the Triumvirate by Antoine Caron, the depictions of panic in Nicolas Poussin's paintings and "bizarre mythologies of the Renaissance". Fermigier wrote that its elements are combined in a way that evokes the atmosphere of the time it was made. Ronny Cohen wrote for Artforum in 1985 that the complex composition turns the figures into symbols through their scale, positions and contrasts between neutrally coloured areas and red and yellow surfaces. He interpreted the painting as a work about death and the horror felt during World War II, contrasted by the suited man who emits a sense of reason, and by the bare-breasted women at the front, whose radiating skin made Cohen interpret them as goddesses who witness the tragedy of mortals.The art historian Virginie Devillers and the critic Eugénie De Keyser interpreted The Anxious City as a reaction to the German invasion of Belgium. De Keyser wrote that it stands out among Delvaux's paintings with its many preparatory studies, where place and people accumulate into an inescapable sense of disquiet. Devilliers connects the man in the suit and bowler hat to the paintings of René Magritte. She writes that the suited man, the women at the front and the naked, seated man, whom she describes as Delvaux portrayed as an ephebe, are "lost in their own dream", making them strangers to the mass of anxious people around them. The literary scholar John Fletcher writes that the painting projects "melancholy, disquiet and bafflement" in a way reminiscent of the novels of Alain Robbe-Grillet, especially Topology of a Phantom City (1976). The literary scholar Jeannette Baxter calls The Anxious City a post-apocalyptic work where people seem to be sleepwalking or traumatised. She writes that the crowded scene combined with a complete lack of eye contact between the figures creates "an overwhelming sense of loneliness".The Anxious City is referenced and features as an intertext in the post-apocalyptic novel The Drowned World by J. G. Ballard, published in 1962. The short story "Siestas" by Julio Cortázar, published in Último Round (1969), was inspired by several Delvaux paintings. The man in the suit from The Anxious City appears in a nightmare. In 1970, a detail from the painting was featured on a Belgian postage stamp.

Apocalyptic and post-apocalyptic fiction


The Anxious City

Prompt: In The Anxious City, how is the Analysis and reception discussed?

In 1969, André Fermigier of Le Nouvel Observateur wrote that The Anxious City is Delvaux's masterpiece and highlighted its ambitious composition. He wrote that it recalls The Massacres of the Triumvirate by Antoine Caron, the depictions of panic in Nicolas Poussin's paintings and "bizarre mythologies of the Renaissance". Fermigier wrote that its elements are combined in a way that evokes the atmosphere of the time it was made. Ronny Cohen wrote for Artforum in 1985 that the complex composition turns the figures into symbols through their scale, positions and contrasts between neutrally coloured areas and red and yellow surfaces. He interpreted the painting as a work about death and the horror felt during World War II, contrasted by the suited man who emits a sense of reason, and by the bare-breasted women at the front, whose radiating skin made Cohen interpret them as goddesses who witness the tragedy of mortals.The art historian Virginie Devillers and the critic Eugénie De Keyser interpreted The Anxious City as a reaction to the German invasion of Belgium. De Keyser wrote that it stands out among Delvaux's paintings with its many preparatory studies, where place and people accumulate into an inescapable sense of disquiet. Devilliers connects the man in the suit and bowler hat to the paintings of René Magritte. She writes that the suited man, the women at the front and the naked, seated man, whom she describes as Delvaux portrayed as an ephebe, are "lost in their own dream", making them strangers to the mass of anxious people around them. The literary scholar John Fletcher writes that the painting projects "melancholy, disquiet and bafflement" in a way reminiscent of the novels of Alain Robbe-Grillet, especially Topology of a Phantom City (1976). The literary scholar Jeannette Baxter calls The Anxious City a post-apocalyptic work where people seem to be sleepwalking or traumatised. She writes that the crowded scene combined with a complete lack of eye contact between the figures creates "an overwhelming sense of loneliness".The Anxious City is referenced and features as an intertext in the post-apocalyptic novel The Drowned World by J. G. Ballard, published in 1962. The short story "Siestas" by Julio Cortázar, published in Último Round (1969), was inspired by several Delvaux paintings. The man in the suit from The Anxious City appears in a nightmare. In 1970, a detail from the painting was featured on a Belgian postage stamp.

Apocalyptic and post-apocalyptic fiction


The Anxious City

Prompt: Focus on The Anxious City and explain the Provenance.

The Centre for Fine Arts in Brussels exhibited The Anxious City as part of a Delvaux solo exhibition in December 1944 and January 1945. It was shown at the 27th Venice Biennale in 1954. It was acquired by René Gaffé in Brussels who sold it to a private collector in 1953. It was sold through Christie's in 1998 for 2,971,500 pounds. The price was a new record for a Delvaux painting. A set of 61 ink studies was sold through Christie's in 2011 for 133,250 pounds, more than four times the estimated price.

Apocalyptic and post-apocalyptic fiction


The Anxious City

Prompt: Explain the Provenance of this artwork, The Anxious City.

The Centre for Fine Arts in Brussels exhibited The Anxious City as part of a Delvaux solo exhibition in December 1944 and January 1945. It was shown at the 27th Venice Biennale in 1954. It was acquired by René Gaffé in Brussels who sold it to a private collector in 1953. It was sold through Christie's in 1998 for 2,971,500 pounds. The price was a new record for a Delvaux painting. A set of 61 ink studies was sold through Christie's in 2011 for 133,250 pounds, more than four times the estimated price.

Apocalyptic and post-apocalyptic fiction


The Anxious City

Prompt: How does The Anxious City explain its Provenance?

The Centre for Fine Arts in Brussels exhibited The Anxious City as part of a Delvaux solo exhibition in December 1944 and January 1945. It was shown at the 27th Venice Biennale in 1954. It was acquired by René Gaffé in Brussels who sold it to a private collector in 1953. It was sold through Christie's in 1998 for 2,971,500 pounds. The price was a new record for a Delvaux painting. A set of 61 ink studies was sold through Christie's in 2011 for 133,250 pounds, more than four times the estimated price.

Apocalyptic and post-apocalyptic fiction


The Anxious City

Prompt: In The Anxious City, how is the Provenance discussed?

The Centre for Fine Arts in Brussels exhibited The Anxious City as part of a Delvaux solo exhibition in December 1944 and January 1945. It was shown at the 27th Venice Biennale in 1954. It was acquired by René Gaffé in Brussels who sold it to a private collector in 1953. It was sold through Christie's in 1998 for 2,971,500 pounds. The price was a new record for a Delvaux painting. A set of 61 ink studies was sold through Christie's in 2011 for 133,250 pounds, more than four times the estimated price.

Apocalyptic and post-apocalyptic fiction


Statue of Queen Victoria, Bristol

Prompt: Focus on Statue of Queen Victoria, Bristol and explain the abstract.

The statue of Queen Victoria by Joseph Edgar Boehm stands on College Green, Bristol, England. It is Grade II listed.The statue was planned as part of the celebrations of the Golden Jubilee of Queen Victoria and was erected on the apex of College Green, displacing a replica of the medieval Bristol High Cross, which was moved  to the centre of the Green.The round steps of limestone ashlar lead to a square copper base with fish, putti, and inscribed panels, which support the marble statue. The figure of Queen Victoria is holding a sceptre and orb which are now broken. The statue itself is 8 feet 6 inches high and weighs four tons. It was unveiled on 25 July 1888 by Prince Albert Victor of Wales, one of Victoria's grandsons.The statue is one of a series of very similar statues Boehm made for the Queen’s Jubilee to stand at Windsor, Balmoral Castle, Sydney, and Pietermaritzburg.When it was put into place, a glass time capsule was incorporated into the plinth. This was uncovered during works in 2004 and given to Bristol City Museum and Art Gallery.The statue has been moved several times.

Category:Prince Albert Victor, Duke of Clarence and Avondale

Category:Royal monuments in the United Kingdom

Category:Vandalized works of art in the United Kingdom

Category:Buildings and structures completed in 1888

Category:Golden Jubilee of Queen Victoria

Category:Grade II listed buildings in Bristol

Category:Marble sculptures in the United Kingdom

Category:Grade II listed statues in England


Statue of Queen Victoria, Bristol

Prompt: Explain the abstract of this artwork, Statue of Queen Victoria, Bristol.

The statue of Queen Victoria by Joseph Edgar Boehm stands on College Green, Bristol, England. It is Grade II listed.The statue was planned as part of the celebrations of the Golden Jubilee of Queen Victoria and was erected on the apex of College Green, displacing a replica of the medieval Bristol High Cross, which was moved  to the centre of the Green.The round steps of limestone ashlar lead to a square copper base with fish, putti, and inscribed panels, which support the marble statue. The figure of Queen Victoria is holding a sceptre and orb which are now broken. The statue itself is 8 feet 6 inches high and weighs four tons. It was unveiled on 25 July 1888 by Prince Albert Victor of Wales, one of Victoria's grandsons.The statue is one of a series of very similar statues Boehm made for the Queen’s Jubilee to stand at Windsor, Balmoral Castle, Sydney, and Pietermaritzburg.When it was put into place, a glass time capsule was incorporated into the plinth. This was uncovered during works in 2004 and given to Bristol City Museum and Art Gallery.The statue has been moved several times.

Category:Prince Albert Victor, Duke of Clarence and Avondale

Category:Royal monuments in the United Kingdom

Category:Vandalized works of art in the United Kingdom

Category:Buildings and structures completed in 1888

Category:Golden Jubilee of Queen Victoria

Category:Grade II listed buildings in Bristol

Category:Marble sculptures in the United Kingdom

Category:Grade II listed statues in England


Statue of Queen Victoria, Bristol

Prompt: How does Statue of Queen Victoria, Bristol explain its abstract?

The statue of Queen Victoria by Joseph Edgar Boehm stands on College Green, Bristol, England. It is Grade II listed.The statue was planned as part of the celebrations of the Golden Jubilee of Queen Victoria and was erected on the apex of College Green, displacing a replica of the medieval Bristol High Cross, which was moved  to the centre of the Green.The round steps of limestone ashlar lead to a square copper base with fish, putti, and inscribed panels, which support the marble statue. The figure of Queen Victoria is holding a sceptre and orb which are now broken. The statue itself is 8 feet 6 inches high and weighs four tons. It was unveiled on 25 July 1888 by Prince Albert Victor of Wales, one of Victoria's grandsons.The statue is one of a series of very similar statues Boehm made for the Queen’s Jubilee to stand at Windsor, Balmoral Castle, Sydney, and Pietermaritzburg.When it was put into place, a glass time capsule was incorporated into the plinth. This was uncovered during works in 2004 and given to Bristol City Museum and Art Gallery.The statue has been moved several times.

Category:Prince Albert Victor, Duke of Clarence and Avondale

Category:Royal monuments in the United Kingdom

Category:Vandalized works of art in the United Kingdom

Category:Buildings and structures completed in 1888

Category:Golden Jubilee of Queen Victoria

Category:Grade II listed buildings in Bristol

Category:Marble sculptures in the United Kingdom

Category:Grade II listed statues in England


Statue of Queen Victoria, Bristol

Prompt: In Statue of Queen Victoria, Bristol, how is the abstract discussed?

The statue of Queen Victoria by Joseph Edgar Boehm stands on College Green, Bristol, England. It is Grade II listed.The statue was planned as part of the celebrations of the Golden Jubilee of Queen Victoria and was erected on the apex of College Green, displacing a replica of the medieval Bristol High Cross, which was moved  to the centre of the Green.The round steps of limestone ashlar lead to a square copper base with fish, putti, and inscribed panels, which support the marble statue. The figure of Queen Victoria is holding a sceptre and orb which are now broken. The statue itself is 8 feet 6 inches high and weighs four tons. It was unveiled on 25 July 1888 by Prince Albert Victor of Wales, one of Victoria's grandsons.The statue is one of a series of very similar statues Boehm made for the Queen’s Jubilee to stand at Windsor, Balmoral Castle, Sydney, and Pietermaritzburg.When it was put into place, a glass time capsule was incorporated into the plinth. This was uncovered during works in 2004 and given to Bristol City Museum and Art Gallery.The statue has been moved several times.

Category:Prince Albert Victor, Duke of Clarence and Avondale

Category:Royal monuments in the United Kingdom

Category:Vandalized works of art in the United Kingdom

Category:Buildings and structures completed in 1888

Category:Golden Jubilee of Queen Victoria

Category:Grade II listed buildings in Bristol

Category:Marble sculptures in the United Kingdom

Category:Grade II listed statues in England


Man with Fish

Prompt: Focus on Man with Fish and explain the abstract.

Man with Fish is an outdoor fountain and sculpture by German artist Stephan Balkenhol, installed outside Chicago's Shedd Aquarium, in the U.S. state of Illinois.  It is made from bronze that was then painted, and is 16 feet tall.

Category:Sculptures of fish in the United States

Category:Colossal statues in the United States


Man with Fish

Prompt: Explain the abstract of this artwork, Man with Fish.

Man with Fish is an outdoor fountain and sculpture by German artist Stephan Balkenhol, installed outside Chicago's Shedd Aquarium, in the U.S. state of Illinois.  It is made from bronze that was then painted, and is 16 feet tall.

Category:Sculptures of fish in the United States

Category:Colossal statues in the United States


Man with Fish

Prompt: How does Man with Fish explain its abstract?

Man with Fish is an outdoor fountain and sculpture by German artist Stephan Balkenhol, installed outside Chicago's Shedd Aquarium, in the U.S. state of Illinois.  It is made from bronze that was then painted, and is 16 feet tall.

Category:Sculptures of fish in the United States

Category:Colossal statues in the United States


Man with Fish

Prompt: In Man with Fish, how is the abstract discussed?

Man with Fish is an outdoor fountain and sculpture by German artist Stephan Balkenhol, installed outside Chicago's Shedd Aquarium, in the U.S. state of Illinois.  It is made from bronze that was then painted, and is 16 feet tall.

Category:Sculptures of fish in the United States

Category:Colossal statues in the United States


Prompt: Focus on The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim and explain the abstract.

The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim and the World Presidents of the International College of Surgeons in Chicago, or, The Wise in Examination of the Torn Contemporary State is a painting by British artist Henry Ward depicting transplant surgeon Nadey Hakim demonstrating the removal of a living donor kidney. It is on display at Başkent University, Ankara, Turkey.The painting uses Rembrandt's The Anatomy Lesson of Dr. Nicolaes Tulp (1632) as a reference, showing Hakim surrounded by the modern presidents and members of the International College of Surgeons in Chicago. It took one year to complete and was unveiled in 2010.It was chosen to be included in the exhibition for the 2010 BP Portrait Awards and in Sandy Nairne's book 500 Portraits: 25 Years of The BP Portrait Award (2012).

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

International Museum of Surgical Science

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Prompt: Explain the abstract of this artwork, The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim.

The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim and the World Presidents of the International College of Surgeons in Chicago, or, The Wise in Examination of the Torn Contemporary State is a painting by British artist Henry Ward depicting transplant surgeon Nadey Hakim demonstrating the removal of a living donor kidney. It is on display at Başkent University, Ankara, Turkey.The painting uses Rembrandt's The Anatomy Lesson of Dr. Nicolaes Tulp (1632) as a reference, showing Hakim surrounded by the modern presidents and members of the International College of Surgeons in Chicago. It took one year to complete and was unveiled in 2010.It was chosen to be included in the exhibition for the 2010 BP Portrait Awards and in Sandy Nairne's book 500 Portraits: 25 Years of The BP Portrait Award (2012).

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

International Museum of Surgical Science

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Prompt: How does The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim explain its abstract?

The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim and the World Presidents of the International College of Surgeons in Chicago, or, The Wise in Examination of the Torn Contemporary State is a painting by British artist Henry Ward depicting transplant surgeon Nadey Hakim demonstrating the removal of a living donor kidney. It is on display at Başkent University, Ankara, Turkey.The painting uses Rembrandt's The Anatomy Lesson of Dr. Nicolaes Tulp (1632) as a reference, showing Hakim surrounded by the modern presidents and members of the International College of Surgeons in Chicago. It took one year to complete and was unveiled in 2010.It was chosen to be included in the exhibition for the 2010 BP Portrait Awards and in Sandy Nairne's book 500 Portraits: 25 Years of The BP Portrait Award (2012).

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

International Museum of Surgical Science

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Prompt: In The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim, how is the abstract discussed?

The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim and the World Presidents of the International College of Surgeons in Chicago, or, The Wise in Examination of the Torn Contemporary State is a painting by British artist Henry Ward depicting transplant surgeon Nadey Hakim demonstrating the removal of a living donor kidney. It is on display at Başkent University, Ankara, Turkey.The painting uses Rembrandt's The Anatomy Lesson of Dr. Nicolaes Tulp (1632) as a reference, showing Hakim surrounded by the modern presidents and members of the International College of Surgeons in Chicago. It took one year to complete and was unveiled in 2010.It was chosen to be included in the exhibition for the 2010 BP Portrait Awards and in Sandy Nairne's book 500 Portraits: 25 Years of The BP Portrait Award (2012).

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

International Museum of Surgical Science

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Prompt: Focus on The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim and explain the Background.

Henry Ward had always wanted to recreate Rembrandt's The Anatomy Lesson of Dr. Nicolaes Tulp. With the co-operation of Nadey Hakim, he planned to recreate the painting using the modern presidents and key members of the International College of Surgeons in order to highlight the global requirement for live, legal, organ donors. Hakim, who Ward had met when they were both members of the British Red Cross's International Fundraising Committee in 2004, already knew of the painting and had used it on the cover of one of his medical papers.

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

International Museum of Surgical Science

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Prompt: Explain the Background of this artwork, The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim.

Henry Ward had always wanted to recreate Rembrandt's The Anatomy Lesson of Dr. Nicolaes Tulp. With the co-operation of Nadey Hakim, he planned to recreate the painting using the modern presidents and key members of the International College of Surgeons in order to highlight the global requirement for live, legal, organ donors. Hakim, who Ward had met when they were both members of the British Red Cross's International Fundraising Committee in 2004, already knew of the painting and had used it on the cover of one of his medical papers.

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

International Museum of Surgical Science

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Prompt: How does The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim explain its Background?

Henry Ward had always wanted to recreate Rembrandt's The Anatomy Lesson of Dr. Nicolaes Tulp. With the co-operation of Nadey Hakim, he planned to recreate the painting using the modern presidents and key members of the International College of Surgeons in order to highlight the global requirement for live, legal, organ donors. Hakim, who Ward had met when they were both members of the British Red Cross's International Fundraising Committee in 2004, already knew of the painting and had used it on the cover of one of his medical papers.

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

International Museum of Surgical Science

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Prompt: In The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim, how is the Background discussed?

Henry Ward had always wanted to recreate Rembrandt's The Anatomy Lesson of Dr. Nicolaes Tulp. With the co-operation of Nadey Hakim, he planned to recreate the painting using the modern presidents and key members of the International College of Surgeons in order to highlight the global requirement for live, legal, organ donors. Hakim, who Ward had met when they were both members of the British Red Cross's International Fundraising Committee in 2004, already knew of the painting and had used it on the cover of one of his medical papers.

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

International Museum of Surgical Science

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Prompt: Focus on The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim and explain the Composition.

With the help of Hakim, Ward was able to take photographs and make preliminary drawings of the surgeons prior to beginning to create the painting in oil over the course of one year. As part of his research, in 2009 he attended the removal of a kidney using the finger-assisted method at the Hammersmith Hospital, and being seated next to the patient was able to sketch the procedure.The painting shows Nadey Hakim demonstrating his procedure for kidney removal from a donor, an operation that involves a small incision between the tenth and eleventh ribs and results in improved operative safety over other methods of removal. The surgeons shown are, from left to right, Said Dee, Arno Roscher, Earl Owen, Rocco Maruotti, Christopher Chen, Nadey Hakim, John Fournier, George Fayad, Adel Ramzy, Biagio Ravo and Refaat Kamel.Ward decided to paint the surgeons in business suits to follow the example of Rembrandt whose subjects are in contemporary dress, and because if he had used surgical scrubs there would have been little to distinguish them. Formal wear also allowed him to depict their ties, so adding some additional colour and design to the work. His aim was to give each surgeon equal prominence which he achieved through the creation of three tiers of figures along a horizontal plane and the careful manipulation of light. The pyramidal structure of the figures is as used by the old masters.

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

International Museum of Surgical Science

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Prompt: Explain the Composition of this artwork, The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim.

With the help of Hakim, Ward was able to take photographs and make preliminary drawings of the surgeons prior to beginning to create the painting in oil over the course of one year. As part of his research, in 2009 he attended the removal of a kidney using the finger-assisted method at the Hammersmith Hospital, and being seated next to the patient was able to sketch the procedure.The painting shows Nadey Hakim demonstrating his procedure for kidney removal from a donor, an operation that involves a small incision between the tenth and eleventh ribs and results in improved operative safety over other methods of removal. The surgeons shown are, from left to right, Said Dee, Arno Roscher, Earl Owen, Rocco Maruotti, Christopher Chen, Nadey Hakim, John Fournier, George Fayad, Adel Ramzy, Biagio Ravo and Refaat Kamel.Ward decided to paint the surgeons in business suits to follow the example of Rembrandt whose subjects are in contemporary dress, and because if he had used surgical scrubs there would have been little to distinguish them. Formal wear also allowed him to depict their ties, so adding some additional colour and design to the work. His aim was to give each surgeon equal prominence which he achieved through the creation of three tiers of figures along a horizontal plane and the careful manipulation of light. The pyramidal structure of the figures is as used by the old masters.

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

International Museum of Surgical Science

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Prompt: How does The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim explain its Composition?

With the help of Hakim, Ward was able to take photographs and make preliminary drawings of the surgeons prior to beginning to create the painting in oil over the course of one year. As part of his research, in 2009 he attended the removal of a kidney using the finger-assisted method at the Hammersmith Hospital, and being seated next to the patient was able to sketch the procedure.The painting shows Nadey Hakim demonstrating his procedure for kidney removal from a donor, an operation that involves a small incision between the tenth and eleventh ribs and results in improved operative safety over other methods of removal. The surgeons shown are, from left to right, Said Dee, Arno Roscher, Earl Owen, Rocco Maruotti, Christopher Chen, Nadey Hakim, John Fournier, George Fayad, Adel Ramzy, Biagio Ravo and Refaat Kamel.Ward decided to paint the surgeons in business suits to follow the example of Rembrandt whose subjects are in contemporary dress, and because if he had used surgical scrubs there would have been little to distinguish them. Formal wear also allowed him to depict their ties, so adding some additional colour and design to the work. His aim was to give each surgeon equal prominence which he achieved through the creation of three tiers of figures along a horizontal plane and the careful manipulation of light. The pyramidal structure of the figures is as used by the old masters.

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

International Museum of Surgical Science

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Prompt: In The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim, how is the Composition discussed?

With the help of Hakim, Ward was able to take photographs and make preliminary drawings of the surgeons prior to beginning to create the painting in oil over the course of one year. As part of his research, in 2009 he attended the removal of a kidney using the finger-assisted method at the Hammersmith Hospital, and being seated next to the patient was able to sketch the procedure.The painting shows Nadey Hakim demonstrating his procedure for kidney removal from a donor, an operation that involves a small incision between the tenth and eleventh ribs and results in improved operative safety over other methods of removal. The surgeons shown are, from left to right, Said Dee, Arno Roscher, Earl Owen, Rocco Maruotti, Christopher Chen, Nadey Hakim, John Fournier, George Fayad, Adel Ramzy, Biagio Ravo and Refaat Kamel.Ward decided to paint the surgeons in business suits to follow the example of Rembrandt whose subjects are in contemporary dress, and because if he had used surgical scrubs there would have been little to distinguish them. Formal wear also allowed him to depict their ties, so adding some additional colour and design to the work. His aim was to give each surgeon equal prominence which he achieved through the creation of three tiers of figures along a horizontal plane and the careful manipulation of light. The pyramidal structure of the figures is as used by the old masters.

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

International Museum of Surgical Science

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Prompt: Focus on The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim and explain the Unveiling and reception.

The painting was unveiled in the Lord Speaker's private chamber of the House of Lords, by Baroness Finlay of Llandaff in 2010. Frank Delmonico, president-elect of The Transplantation Society, spoke on human organ transplantation and organ donation.The painting was subsequently chosen to be included in the display of the BP Portrait Award 2010 at the National Portrait Gallery, the largest work ever to be included, following which it toured with the intention of ultimately being placed on display at the International Museum of Surgical Science in Chicago. Sandy Nairne, director of the National Portrait Gallery, included the painting in his book 500 Portraits: 25 Years of The BP Portrait Award in 2012.Hakim later offered the painting to Mehmet Haberal at Başkent University, Ankara, Turkey, where it is on display.

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Prompt: Explain the Unveiling and reception of this artwork, The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim.

The painting was unveiled in the Lord Speaker's private chamber of the House of Lords, by Baroness Finlay of Llandaff in 2010. Frank Delmonico, president-elect of The Transplantation Society, spoke on human organ transplantation and organ donation.The painting was subsequently chosen to be included in the display of the BP Portrait Award 2010 at the National Portrait Gallery, the largest work ever to be included, following which it toured with the intention of ultimately being placed on display at the International Museum of Surgical Science in Chicago. Sandy Nairne, director of the National Portrait Gallery, included the painting in his book 500 Portraits: 25 Years of The BP Portrait Award in 2012.Hakim later offered the painting to Mehmet Haberal at Başkent University, Ankara, Turkey, where it is on display.

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Prompt: How does The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim explain its Unveiling and reception?

The painting was unveiled in the Lord Speaker's private chamber of the House of Lords, by Baroness Finlay of Llandaff in 2010. Frank Delmonico, president-elect of The Transplantation Society, spoke on human organ transplantation and organ donation.The painting was subsequently chosen to be included in the display of the BP Portrait Award 2010 at the National Portrait Gallery, the largest work ever to be included, following which it toured with the intention of ultimately being placed on display at the International Museum of Surgical Science in Chicago. Sandy Nairne, director of the National Portrait Gallery, included the painting in his book 500 Portraits: 25 Years of The BP Portrait Award in 2012.Hakim later offered the painting to Mehmet Haberal at Başkent University, Ankara, Turkey, where it is on display.

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Prompt: In The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim, how is the Unveiling and reception discussed?

The painting was unveiled in the Lord Speaker's private chamber of the House of Lords, by Baroness Finlay of Llandaff in 2010. Frank Delmonico, president-elect of The Transplantation Society, spoke on human organ transplantation and organ donation.The painting was subsequently chosen to be included in the display of the BP Portrait Award 2010 at the National Portrait Gallery, the largest work ever to be included, following which it toured with the intention of ultimately being placed on display at the International Museum of Surgical Science in Chicago. Sandy Nairne, director of the National Portrait Gallery, included the painting in his book 500 Portraits: 25 Years of The BP Portrait Award in 2012.Hakim later offered the painting to Mehmet Haberal at Başkent University, Ankara, Turkey, where it is on display.

File:Rembrandt - The Anatomy Lesson of Dr Nicolaes Tulp.jpg

''[[The Anatomy Lesson of Dr. Nicolaes Tulp

Ilora Finlay, Baroness Finlay of Llandaff


Stoning of Stephen (Damaskinos)

Prompt: Focus on Stoning of Stephen (Damaskinos) and explain the abstract.

The Stoning of Saint Stephen is an egg tempera and gold leaf painting created by Greek master Michael Damaskinos.  He was a member of the Cretan school.  He integrated Venetian painting with the Greek mannerisms prevalent at the time.  Damaskinos was active in Heraklion, Sicily, Venice, and other parts of Italy.  The Stoning of Stephen has been depicted by countless Greek and Italian painters.  Saint Stephen was a protomartyr.  He was the first martyr of Christianity.  He was stoned to death for following the new faith.  The painting is a depiction of that event. The most notable version was completed by Raphael's student Giulio Romano.  The painting is a massive depiction of the Stoning of St. Stephen.  Tintoretto also painted a similar version.  There is a strong possibility Damaskinos was exposed to the paintings while in Italy.  His version of the painting shared common characteristics.  Damaskinos's rendition of the Stoning of Saint Stephen was copied by countless artists namely Philotheos Skoufos.  Skoufis was exposed to his work while he was at the church San Giorgio dei Greci.  The Damaskinos painting is over five feet tall.  The massive icon is housed at the Municipal Gallery of Corfu in Corfu, Greece.  The collection is inside of the Palace of St. Michael and St. George section A.  Damaskinos’s  Beheading of John the Baptist  is also at the same location.

Category:Paintings by Michael Damaskinos

Beheading of John the Baptist (Damaskinos)


Stoning of Stephen (Damaskinos)

Prompt: Explain the abstract of this artwork, Stoning of Stephen (Damaskinos).

The Stoning of Saint Stephen is an egg tempera and gold leaf painting created by Greek master Michael Damaskinos.  He was a member of the Cretan school.  He integrated Venetian painting with the Greek mannerisms prevalent at the time.  Damaskinos was active in Heraklion, Sicily, Venice, and other parts of Italy.  The Stoning of Stephen has been depicted by countless Greek and Italian painters.  Saint Stephen was a protomartyr.  He was the first martyr of Christianity.  He was stoned to death for following the new faith.  The painting is a depiction of that event. The most notable version was completed by Raphael's student Giulio Romano.  The painting is a massive depiction of the Stoning of St. Stephen.  Tintoretto also painted a similar version.  There is a strong possibility Damaskinos was exposed to the paintings while in Italy.  His version of the painting shared common characteristics.  Damaskinos's rendition of the Stoning of Saint Stephen was copied by countless artists namely Philotheos Skoufos.  Skoufis was exposed to his work while he was at the church San Giorgio dei Greci.  The Damaskinos painting is over five feet tall.  The massive icon is housed at the Municipal Gallery of Corfu in Corfu, Greece.  The collection is inside of the Palace of St. Michael and St. George section A.  Damaskinos’s  Beheading of John the Baptist  is also at the same location.

Category:Paintings by Michael Damaskinos

Beheading of John the Baptist (Damaskinos)


Stoning of Stephen (Damaskinos)

Prompt: How does Stoning of Stephen (Damaskinos) explain its abstract?

The Stoning of Saint Stephen is an egg tempera and gold leaf painting created by Greek master Michael Damaskinos.  He was a member of the Cretan school.  He integrated Venetian painting with the Greek mannerisms prevalent at the time.  Damaskinos was active in Heraklion, Sicily, Venice, and other parts of Italy.  The Stoning of Stephen has been depicted by countless Greek and Italian painters.  Saint Stephen was a protomartyr.  He was the first martyr of Christianity.  He was stoned to death for following the new faith.  The painting is a depiction of that event. The most notable version was completed by Raphael's student Giulio Romano.  The painting is a massive depiction of the Stoning of St. Stephen.  Tintoretto also painted a similar version.  There is a strong possibility Damaskinos was exposed to the paintings while in Italy.  His version of the painting shared common characteristics.  Damaskinos's rendition of the Stoning of Saint Stephen was copied by countless artists namely Philotheos Skoufos.  Skoufis was exposed to his work while he was at the church San Giorgio dei Greci.  The Damaskinos painting is over five feet tall.  The massive icon is housed at the Municipal Gallery of Corfu in Corfu, Greece.  The collection is inside of the Palace of St. Michael and St. George section A.  Damaskinos’s  Beheading of John the Baptist  is also at the same location.

Category:Paintings by Michael Damaskinos

Beheading of John the Baptist (Damaskinos)


Stoning of Stephen (Damaskinos)

Prompt: In Stoning of Stephen (Damaskinos), how is the abstract discussed?

The Stoning of Saint Stephen is an egg tempera and gold leaf painting created by Greek master Michael Damaskinos.  He was a member of the Cretan school.  He integrated Venetian painting with the Greek mannerisms prevalent at the time.  Damaskinos was active in Heraklion, Sicily, Venice, and other parts of Italy.  The Stoning of Stephen has been depicted by countless Greek and Italian painters.  Saint Stephen was a protomartyr.  He was the first martyr of Christianity.  He was stoned to death for following the new faith.  The painting is a depiction of that event. The most notable version was completed by Raphael's student Giulio Romano.  The painting is a massive depiction of the Stoning of St. Stephen.  Tintoretto also painted a similar version.  There is a strong possibility Damaskinos was exposed to the paintings while in Italy.  His version of the painting shared common characteristics.  Damaskinos's rendition of the Stoning of Saint Stephen was copied by countless artists namely Philotheos Skoufos.  Skoufis was exposed to his work while he was at the church San Giorgio dei Greci.  The Damaskinos painting is over five feet tall.  The massive icon is housed at the Municipal Gallery of Corfu in Corfu, Greece.  The collection is inside of the Palace of St. Michael and St. George section A.  Damaskinos’s  Beheading of John the Baptist  is also at the same location.

Category:Paintings by Michael Damaskinos

Beheading of John the Baptist (Damaskinos)


Stoning of Stephen (Damaskinos)

Prompt: Focus on Stoning of Stephen (Damaskinos) and explain the Description.

The painting is egg tempera and gold leaf on wood.  The painting is huge, it measures over five feet tall.  The dimensions are 165.5 cm (65.2 in) x 97.5 cm (38.4 in) it was completed towards the end of the 16th century while the painter was in Crete.  The painting follows the traditional maniera greca influenced by Venetian painting.  The painter employs the Italian Renaissance cangiante style.    Stephen is the central figure. Similar to both the Romano and Tintoretto.  He stands in the foreground.  His facial expression relays a message of sorrow.  Both Romano and Damaskinos capture this moment similarly.  Damaskinos elegantly accentuates the striations and folds of fabric.  Stephen is wearing elaborate jewelry around his collar.  He is also depicted with a halo. A bright red decorated stole overlaps his torso.  To his right or our left, a man holding a stone appears with a detailed expression on his face.  His forehead and his body demonstrate the painter's ability to use colors, lines, and shadows to present his figures.  Under the man lies an ornate shield depicting the lion of Venice.  Damaskinos is blending first-century attire with clothing and objects prevalent during his lifetime.  Three figures are throwing stones.  In the middle ground, a man sits observing the event.  He was a high-ranking Roman soldier.  The event followed a speedy trial based on the laws and customs of the time.  Stephen did not have a trial like Jesus.   The Roman soldier's armor is elaborately decorated.  Once again, Damaskinos is mixing first-century attire with clothing prevalent during his lifetime.  The Roman soldier wears the same armor in Damaskinos's Beheading of John the Baptist.  The same character is in both paintings.  Both paintings were created around the same period.  The Virgin Mary and Apostles sit to the right of the Roman soldier.  A unique building also lies behind the Roman soldier.  In the Damaskinos parts of the painting were lost with time.  Luckily, Philotheos Skoufos painted an identical version during the 1600s.  There was also a city in the background.  At the top of the painting, Jesus lies waiting for his disciple.  He holds a book in his left hand representing the new testament.  Angles are dispatched to go collect Saint Stephen the protomartyr.

Category:Paintings by Michael Damaskinos

Beheading of John the Baptist (Damaskinos)


Stoning of Stephen (Damaskinos)

Prompt: Explain the Description of this artwork, Stoning of Stephen (Damaskinos).

The painting is egg tempera and gold leaf on wood.  The painting is huge, it measures over five feet tall.  The dimensions are 165.5 cm (65.2 in) x 97.5 cm (38.4 in) it was completed towards the end of the 16th century while the painter was in Crete.  The painting follows the traditional maniera greca influenced by Venetian painting.  The painter employs the Italian Renaissance cangiante style.    Stephen is the central figure. Similar to both the Romano and Tintoretto.  He stands in the foreground.  His facial expression relays a message of sorrow.  Both Romano and Damaskinos capture this moment similarly.  Damaskinos elegantly accentuates the striations and folds of fabric.  Stephen is wearing elaborate jewelry around his collar.  He is also depicted with a halo. A bright red decorated stole overlaps his torso.  To his right or our left, a man holding a stone appears with a detailed expression on his face.  His forehead and his body demonstrate the painter's ability to use colors, lines, and shadows to present his figures.  Under the man lies an ornate shield depicting the lion of Venice.  Damaskinos is blending first-century attire with clothing and objects prevalent during his lifetime.  Three figures are throwing stones.  In the middle ground, a man sits observing the event.  He was a high-ranking Roman soldier.  The event followed a speedy trial based on the laws and customs of the time.  Stephen did not have a trial like Jesus.   The Roman soldier's armor is elaborately decorated.  Once again, Damaskinos is mixing first-century attire with clothing prevalent during his lifetime.  The Roman soldier wears the same armor in Damaskinos's Beheading of John the Baptist.  The same character is in both paintings.  Both paintings were created around the same period.  The Virgin Mary and Apostles sit to the right of the Roman soldier.  A unique building also lies behind the Roman soldier.  In the Damaskinos parts of the painting were lost with time.  Luckily, Philotheos Skoufos painted an identical version during the 1600s.  There was also a city in the background.  At the top of the painting, Jesus lies waiting for his disciple.  He holds a book in his left hand representing the new testament.  Angles are dispatched to go collect Saint Stephen the protomartyr.

Category:Paintings by Michael Damaskinos

Beheading of John the Baptist (Damaskinos)


Stoning of Stephen (Damaskinos)

Prompt: How does Stoning of Stephen (Damaskinos) explain its Description?

The painting is egg tempera and gold leaf on wood.  The painting is huge, it measures over five feet tall.  The dimensions are 165.5 cm (65.2 in) x 97.5 cm (38.4 in) it was completed towards the end of the 16th century while the painter was in Crete.  The painting follows the traditional maniera greca influenced by Venetian painting.  The painter employs the Italian Renaissance cangiante style.    Stephen is the central figure. Similar to both the Romano and Tintoretto.  He stands in the foreground.  His facial expression relays a message of sorrow.  Both Romano and Damaskinos capture this moment similarly.  Damaskinos elegantly accentuates the striations and folds of fabric.  Stephen is wearing elaborate jewelry around his collar.  He is also depicted with a halo. A bright red decorated stole overlaps his torso.  To his right or our left, a man holding a stone appears with a detailed expression on his face.  His forehead and his body demonstrate the painter's ability to use colors, lines, and shadows to present his figures.  Under the man lies an ornate shield depicting the lion of Venice.  Damaskinos is blending first-century attire with clothing and objects prevalent during his lifetime.  Three figures are throwing stones.  In the middle ground, a man sits observing the event.  He was a high-ranking Roman soldier.  The event followed a speedy trial based on the laws and customs of the time.  Stephen did not have a trial like Jesus.   The Roman soldier's armor is elaborately decorated.  Once again, Damaskinos is mixing first-century attire with clothing prevalent during his lifetime.  The Roman soldier wears the same armor in Damaskinos's Beheading of John the Baptist.  The same character is in both paintings.  Both paintings were created around the same period.  The Virgin Mary and Apostles sit to the right of the Roman soldier.  A unique building also lies behind the Roman soldier.  In the Damaskinos parts of the painting were lost with time.  Luckily, Philotheos Skoufos painted an identical version during the 1600s.  There was also a city in the background.  At the top of the painting, Jesus lies waiting for his disciple.  He holds a book in his left hand representing the new testament.  Angles are dispatched to go collect Saint Stephen the protomartyr.

Category:Paintings by Michael Damaskinos

Beheading of John the Baptist (Damaskinos)


Stoning of Stephen (Damaskinos)

Prompt: In Stoning of Stephen (Damaskinos), how is the Description discussed?

The painting is egg tempera and gold leaf on wood.  The painting is huge, it measures over five feet tall.  The dimensions are 165.5 cm (65.2 in) x 97.5 cm (38.4 in) it was completed towards the end of the 16th century while the painter was in Crete.  The painting follows the traditional maniera greca influenced by Venetian painting.  The painter employs the Italian Renaissance cangiante style.    Stephen is the central figure. Similar to both the Romano and Tintoretto.  He stands in the foreground.  His facial expression relays a message of sorrow.  Both Romano and Damaskinos capture this moment similarly.  Damaskinos elegantly accentuates the striations and folds of fabric.  Stephen is wearing elaborate jewelry around his collar.  He is also depicted with a halo. A bright red decorated stole overlaps his torso.  To his right or our left, a man holding a stone appears with a detailed expression on his face.  His forehead and his body demonstrate the painter's ability to use colors, lines, and shadows to present his figures.  Under the man lies an ornate shield depicting the lion of Venice.  Damaskinos is blending first-century attire with clothing and objects prevalent during his lifetime.  Three figures are throwing stones.  In the middle ground, a man sits observing the event.  He was a high-ranking Roman soldier.  The event followed a speedy trial based on the laws and customs of the time.  Stephen did not have a trial like Jesus.   The Roman soldier's armor is elaborately decorated.  Once again, Damaskinos is mixing first-century attire with clothing prevalent during his lifetime.  The Roman soldier wears the same armor in Damaskinos's Beheading of John the Baptist.  The same character is in both paintings.  Both paintings were created around the same period.  The Virgin Mary and Apostles sit to the right of the Roman soldier.  A unique building also lies behind the Roman soldier.  In the Damaskinos parts of the painting were lost with time.  Luckily, Philotheos Skoufos painted an identical version during the 1600s.  There was also a city in the background.  At the top of the painting, Jesus lies waiting for his disciple.  He holds a book in his left hand representing the new testament.  Angles are dispatched to go collect Saint Stephen the protomartyr.

Category:Paintings by Michael Damaskinos

Beheading of John the Baptist (Damaskinos)


Stoning of Stephen (Damaskinos)

Prompt: Focus on Stoning of Stephen (Damaskinos) and explain the Notable Copies.

There are four remaining works that are very similar to the original created between 1640-1707.  The works were finished by three famous Greek painters.  Philotheos Skoufos finished two versions of the original between 1640-1685. One of his versions is in good condition it is located at the Metsovo Folk Art Museum in Metsovo, Ioannina, Greece.  The second version is slightly damaged it is located in the Byzantine Museum of Antivouniotissa in Corfu.  It is on the same island as the original.  Victor finished a copy of the work around the same period as Skoufos. The painting is housed at the Byzantine and Christian Museum.  The final version is part of the Kalliga Collection in Greece.  The icon was completed by Stephanos Tzangarolas in 1707.

Category:Paintings by Michael Damaskinos

Beheading of John the Baptist (Damaskinos)


Stoning of Stephen (Damaskinos)

Prompt: Explain the Notable Copies of this artwork, Stoning of Stephen (Damaskinos).

There are four remaining works that are very similar to the original created between 1640-1707.  The works were finished by three famous Greek painters.  Philotheos Skoufos finished two versions of the original between 1640-1685. One of his versions is in good condition it is located at the Metsovo Folk Art Museum in Metsovo, Ioannina, Greece.  The second version is slightly damaged it is located in the Byzantine Museum of Antivouniotissa in Corfu.  It is on the same island as the original.  Victor finished a copy of the work around the same period as Skoufos. The painting is housed at the Byzantine and Christian Museum.  The final version is part of the Kalliga Collection in Greece.  The icon was completed by Stephanos Tzangarolas in 1707.

Category:Paintings by Michael Damaskinos

Beheading of John the Baptist (Damaskinos)


Stoning of Stephen (Damaskinos)

Prompt: How does Stoning of Stephen (Damaskinos) explain its Notable Copies?

There are four remaining works that are very similar to the original created between 1640-1707.  The works were finished by three famous Greek painters.  Philotheos Skoufos finished two versions of the original between 1640-1685. One of his versions is in good condition it is located at the Metsovo Folk Art Museum in Metsovo, Ioannina, Greece.  The second version is slightly damaged it is located in the Byzantine Museum of Antivouniotissa in Corfu.  It is on the same island as the original.  Victor finished a copy of the work around the same period as Skoufos. The painting is housed at the Byzantine and Christian Museum.  The final version is part of the Kalliga Collection in Greece.  The icon was completed by Stephanos Tzangarolas in 1707.

Category:Paintings by Michael Damaskinos

Beheading of John the Baptist (Damaskinos)


Stoning of Stephen (Damaskinos)

Prompt: In Stoning of Stephen (Damaskinos), how is the Notable Copies discussed?

There are four remaining works that are very similar to the original created between 1640-1707.  The works were finished by three famous Greek painters.  Philotheos Skoufos finished two versions of the original between 1640-1685. One of his versions is in good condition it is located at the Metsovo Folk Art Museum in Metsovo, Ioannina, Greece.  The second version is slightly damaged it is located in the Byzantine Museum of Antivouniotissa in Corfu.  It is on the same island as the original.  Victor finished a copy of the work around the same period as Skoufos. The painting is housed at the Byzantine and Christian Museum.  The final version is part of the Kalliga Collection in Greece.  The icon was completed by Stephanos Tzangarolas in 1707.

Category:Paintings by Michael Damaskinos

Beheading of John the Baptist (Damaskinos)


The Robber of the Sparrow's Nest

Prompt: Focus on The Robber of the Sparrow's Nest and explain the abstract.

The Robber of the Sparrow's Nest (Le Dénicheur de moineaux) is an oil painting by the French Rococo artist Antoine Watteau, now in the National Galleries of Scotland, Edinburgh. Variously dated between 1709 and 1716, the painting is a pastoral scene that is one of a few extant arabesques in Watteau's art; it shows a young couple with a dog, sitting at a sparrow's nest; it has been thought to be influenced by Flemish Baroque painting, exactly by Peter Paul Rubens' painting from the Marie de' Medici cycle.In the 18th century, The Robber of the Sparrow's Nest was once in the collection of Watteau's friend and patron Jean de Jullienne; passing through a number of private owners, it came into possession of the Scottish landscape painter Hugh William Williams by the early 19th century; in 1860, the latter's widow donated the painting to the National Gallery of Scotland.

Category:Paintings in National Galleries Scotland


The Robber of the Sparrow's Nest

Prompt: Explain the abstract of this artwork, The Robber of the Sparrow's Nest.

The Robber of the Sparrow's Nest (Le Dénicheur de moineaux) is an oil painting by the French Rococo artist Antoine Watteau, now in the National Galleries of Scotland, Edinburgh. Variously dated between 1709 and 1716, the painting is a pastoral scene that is one of a few extant arabesques in Watteau's art; it shows a young couple with a dog, sitting at a sparrow's nest; it has been thought to be influenced by Flemish Baroque painting, exactly by Peter Paul Rubens' painting from the Marie de' Medici cycle.In the 18th century, The Robber of the Sparrow's Nest was once in the collection of Watteau's friend and patron Jean de Jullienne; passing through a number of private owners, it came into possession of the Scottish landscape painter Hugh William Williams by the early 19th century; in 1860, the latter's widow donated the painting to the National Gallery of Scotland.

Category:Paintings in National Galleries Scotland


The Robber of the Sparrow's Nest

Prompt: How does The Robber of the Sparrow's Nest explain its abstract?

The Robber of the Sparrow's Nest (Le Dénicheur de moineaux) is an oil painting by the French Rococo artist Antoine Watteau, now in the National Galleries of Scotland, Edinburgh. Variously dated between 1709 and 1716, the painting is a pastoral scene that is one of a few extant arabesques in Watteau's art; it shows a young couple with a dog, sitting at a sparrow's nest; it has been thought to be influenced by Flemish Baroque painting, exactly by Peter Paul Rubens' painting from the Marie de' Medici cycle.In the 18th century, The Robber of the Sparrow's Nest was once in the collection of Watteau's friend and patron Jean de Jullienne; passing through a number of private owners, it came into possession of the Scottish landscape painter Hugh William Williams by the early 19th century; in 1860, the latter's widow donated the painting to the National Gallery of Scotland.

Category:Paintings in National Galleries Scotland


The Robber of the Sparrow's Nest

Prompt: In The Robber of the Sparrow's Nest, how is the abstract discussed?

The Robber of the Sparrow's Nest (Le Dénicheur de moineaux) is an oil painting by the French Rococo artist Antoine Watteau, now in the National Galleries of Scotland, Edinburgh. Variously dated between 1709 and 1716, the painting is a pastoral scene that is one of a few extant arabesques in Watteau's art; it shows a young couple with a dog, sitting at a sparrow's nest; it has been thought to be influenced by Flemish Baroque painting, exactly by Peter Paul Rubens' painting from the Marie de' Medici cycle.In the 18th century, The Robber of the Sparrow's Nest was once in the collection of Watteau's friend and patron Jean de Jullienne; passing through a number of private owners, it came into possession of the Scottish landscape painter Hugh William Williams by the early 19th century; in 1860, the latter's widow donated the painting to the National Gallery of Scotland.

Category:Paintings in National Galleries Scotland


Waves at Matsushima

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

Waves at Matsushima, also named Pine Islands, is a pair of Japanese landscape paintings on two six-fold screens, made by artist Tawaraya Sōtatsu in the 1620s. They were painted with ink, color, gold, and silver on paper. They are symbolic of Sōtatsu's aspirations for the afterlife, and were likely commissioned to celebrate the opening of the Shōunji zen temple in Sakai. They have been associated with the coastline of Matsushima, though they were named in the early 20th century, and likely represent no specific location.The pair is the only surviving work of the six pairs done by Sōtatsu. They are considered Sōtatsu's masterwork, and an icon of Kyoto's Rinpa school of art. They inspired paintings by Ogata Kōrin and Suzuki Kiitsu, which were also named Waves at Matsushima. Kōrin's work, painted in the early 17th century, brought attention to Sōtatsu's version.

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


Waves at Matsushima

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

Waves at Matsushima, also named Pine Islands, is a pair of Japanese landscape paintings on two six-fold screens, made by artist Tawaraya Sōtatsu in the 1620s. They were painted with ink, color, gold, and silver on paper. They are symbolic of Sōtatsu's aspirations for the afterlife, and were likely commissioned to celebrate the opening of the Shōunji zen temple in Sakai. They have been associated with the coastline of Matsushima, though they were named in the early 20th century, and likely represent no specific location.The pair is the only surviving work of the six pairs done by Sōtatsu. They are considered Sōtatsu's masterwork, and an icon of Kyoto's Rinpa school of art. They inspired paintings by Ogata Kōrin and Suzuki Kiitsu, which were also named Waves at Matsushima. Kōrin's work, painted in the early 17th century, brought attention to Sōtatsu's version.

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


Waves at Matsushima

Prompt: How does Waves at Matsushima explain its abstract?

Waves at Matsushima, also named Pine Islands, is a pair of Japanese landscape paintings on two six-fold screens, made by artist Tawaraya Sōtatsu in the 1620s. They were painted with ink, color, gold, and silver on paper. They are symbolic of Sōtatsu's aspirations for the afterlife, and were likely commissioned to celebrate the opening of the Shōunji zen temple in Sakai. They have been associated with the coastline of Matsushima, though they were named in the early 20th century, and likely represent no specific location.The pair is the only surviving work of the six pairs done by Sōtatsu. They are considered Sōtatsu's masterwork, and an icon of Kyoto's Rinpa school of art. They inspired paintings by Ogata Kōrin and Suzuki Kiitsu, which were also named Waves at Matsushima. Kōrin's work, painted in the early 17th century, brought attention to Sōtatsu's version.

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


Waves at Matsushima

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

Waves at Matsushima, also named Pine Islands, is a pair of Japanese landscape paintings on two six-fold screens, made by artist Tawaraya Sōtatsu in the 1620s. They were painted with ink, color, gold, and silver on paper. They are symbolic of Sōtatsu's aspirations for the afterlife, and were likely commissioned to celebrate the opening of the Shōunji zen temple in Sakai. They have been associated with the coastline of Matsushima, though they were named in the early 20th century, and likely represent no specific location.The pair is the only surviving work of the six pairs done by Sōtatsu. They are considered Sōtatsu's masterwork, and an icon of Kyoto's Rinpa school of art. They inspired paintings by Ogata Kōrin and Suzuki Kiitsu, which were also named Waves at Matsushima. Kōrin's work, painted in the early 17th century, brought attention to Sōtatsu's version.

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


Waves at Matsushima

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

Tawaraya Sōtatsu was a Japanese artist who worked in "relative anonymity" as a part of the "craftsmen" class of artists during the early 17th century. He was a central figure of the Rinpa school of art in Kyoto. The Rinpa school of art grew in the early 17th century with the establishment of the bakufu (military government) in Edo, later named Tokyo. During that time, large-format paintings on folding screens and sliding doors were common, and located in castles, palaces, or temples. They usually had floral and faunal subjects. The chief patrons of Rinpa artists were traditional courtiers, wealthy merchants, and elite warriors. From about 1600 to 1640, Sōtatsu decorated elements of important documents and paper fans. He worked at the Tawaraya, his studio and shop in Kyoto. His most famous technique was tarashikomi, or "a pooling of pigment or ink in partially dried layers, which encouraged random, semi-translucent shapes to form". His works were rendered with planes of shadow, in different tones of grey and black.

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


Waves at Matsushima

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

Tawaraya Sōtatsu was a Japanese artist who worked in "relative anonymity" as a part of the "craftsmen" class of artists during the early 17th century. He was a central figure of the Rinpa school of art in Kyoto. The Rinpa school of art grew in the early 17th century with the establishment of the bakufu (military government) in Edo, later named Tokyo. During that time, large-format paintings on folding screens and sliding doors were common, and located in castles, palaces, or temples. They usually had floral and faunal subjects. The chief patrons of Rinpa artists were traditional courtiers, wealthy merchants, and elite warriors. From about 1600 to 1640, Sōtatsu decorated elements of important documents and paper fans. He worked at the Tawaraya, his studio and shop in Kyoto. His most famous technique was tarashikomi, or "a pooling of pigment or ink in partially dried layers, which encouraged random, semi-translucent shapes to form". His works were rendered with planes of shadow, in different tones of grey and black.

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


Waves at Matsushima

Prompt: How does Waves at Matsushima explain its Background?

Tawaraya Sōtatsu was a Japanese artist who worked in "relative anonymity" as a part of the "craftsmen" class of artists during the early 17th century. He was a central figure of the Rinpa school of art in Kyoto. The Rinpa school of art grew in the early 17th century with the establishment of the bakufu (military government) in Edo, later named Tokyo. During that time, large-format paintings on folding screens and sliding doors were common, and located in castles, palaces, or temples. They usually had floral and faunal subjects. The chief patrons of Rinpa artists were traditional courtiers, wealthy merchants, and elite warriors. From about 1600 to 1640, Sōtatsu decorated elements of important documents and paper fans. He worked at the Tawaraya, his studio and shop in Kyoto. His most famous technique was tarashikomi, or "a pooling of pigment or ink in partially dried layers, which encouraged random, semi-translucent shapes to form". His works were rendered with planes of shadow, in different tones of grey and black.

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


Waves at Matsushima

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

Tawaraya Sōtatsu was a Japanese artist who worked in "relative anonymity" as a part of the "craftsmen" class of artists during the early 17th century. He was a central figure of the Rinpa school of art in Kyoto. The Rinpa school of art grew in the early 17th century with the establishment of the bakufu (military government) in Edo, later named Tokyo. During that time, large-format paintings on folding screens and sliding doors were common, and located in castles, palaces, or temples. They usually had floral and faunal subjects. The chief patrons of Rinpa artists were traditional courtiers, wealthy merchants, and elite warriors. From about 1600 to 1640, Sōtatsu decorated elements of important documents and paper fans. He worked at the Tawaraya, his studio and shop in Kyoto. His most famous technique was tarashikomi, or "a pooling of pigment or ink in partially dried layers, which encouraged random, semi-translucent shapes to form". His works were rendered with planes of shadow, in different tones of grey and black.

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


Waves at Matsushima

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

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

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


Waves at Matsushima

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

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

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


Waves at Matsushima

Prompt: How does Waves at Matsushima explain its Composition?

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

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