God the Father - Arise

Prompt: In God the Father - Arise, how is the Description discussed?

God is depicted as an elderly man with a white beard, in a coat. He holds his left hand over his head, and the right points to the Earth. The artist described the creation of the world (Genesis 1:1, 1:16): "In the beginning God created the heaven and the earth ... And God made two great lights; the greater light to rule the day, and the lesser light to rule the night: he made the stars also."The last of God's creations was man (Genesis 1:26): "And God said, Let us make man in our image, after our likeness: and let them have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing that creepeth upon the earth."

Stanisław Wyspiański
Apollo (System Copernicus)
Wawel
Category:Works by Stanisław Wyspiański
Church of St. Francis of Assisi
Category:Culture in Kraków
Wawel Castle
Juliusz Słowacki Theatre
Kraków
Church of St. Francis of Assisi, Kraków
Category:1904 works
Category:Stained glass windows
Category:God the Father in art


Portrait of Jakob Muffel

Prompt: Focus on Portrait of Jakob Muffel and explain the abstract.

The Portrait of Jakob Muffel is a painting by German Renaissance master Albrecht Dürer, signed and dated from 1526, now housed in the Gemäldegalerie of Berlin, Germany.The work was executed in Nuremberg, the same year in which the German artist portrayed Johann Kleberger and Hieronymus Holzschuher. Jakob Muffel was burgomaster of the city in the year in which Dürer had donated it his four panels of The Four Apostles and the two paintings are perhaps related to each other.The panel is the same size as the portrait of Holzschuher and it has thus been speculated that they may have been commissioned for an official celebration and exhibited at the city's town hall.

Category:Paintings in the Gemäldegalerie, Berlin


Portrait of Jakob Muffel

Prompt: Explain the abstract of this artwork, Portrait of Jakob Muffel.

The Portrait of Jakob Muffel is a painting by German Renaissance master Albrecht Dürer, signed and dated from 1526, now housed in the Gemäldegalerie of Berlin, Germany.The work was executed in Nuremberg, the same year in which the German artist portrayed Johann Kleberger and Hieronymus Holzschuher. Jakob Muffel was burgomaster of the city in the year in which Dürer had donated it his four panels of The Four Apostles and the two paintings are perhaps related to each other.The panel is the same size as the portrait of Holzschuher and it has thus been speculated that they may have been commissioned for an official celebration and exhibited at the city's town hall.

Category:Paintings in the Gemäldegalerie, Berlin


Portrait of Jakob Muffel

Prompt: How does Portrait of Jakob Muffel explain its abstract?

The Portrait of Jakob Muffel is a painting by German Renaissance master Albrecht Dürer, signed and dated from 1526, now housed in the Gemäldegalerie of Berlin, Germany.The work was executed in Nuremberg, the same year in which the German artist portrayed Johann Kleberger and Hieronymus Holzschuher. Jakob Muffel was burgomaster of the city in the year in which Dürer had donated it his four panels of The Four Apostles and the two paintings are perhaps related to each other.The panel is the same size as the portrait of Holzschuher and it has thus been speculated that they may have been commissioned for an official celebration and exhibited at the city's town hall.

Category:Paintings in the Gemäldegalerie, Berlin


Portrait of Jakob Muffel

Prompt: In Portrait of Jakob Muffel, how is the abstract discussed?

The Portrait of Jakob Muffel is a painting by German Renaissance master Albrecht Dürer, signed and dated from 1526, now housed in the Gemäldegalerie of Berlin, Germany.The work was executed in Nuremberg, the same year in which the German artist portrayed Johann Kleberger and Hieronymus Holzschuher. Jakob Muffel was burgomaster of the city in the year in which Dürer had donated it his four panels of The Four Apostles and the two paintings are perhaps related to each other.The panel is the same size as the portrait of Holzschuher and it has thus been speculated that they may have been commissioned for an official celebration and exhibited at the city's town hall.

Category:Paintings in the Gemäldegalerie, Berlin


Persephone (sculpture)

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

Persephone is an outdoor sculpture by artist Armand Toussaint created c. 1840. The work sits within the center of a pool in Holcomb Gardens on the grounds of Butler University in Indianapolis, Indiana, United States. The sculpture depicts the Greek goddess Persephone. In 1993 the sculpture was examined by the Save Outdoor Sculpture! program produced by the Smithsonian Institution.

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

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

Persephone is an outdoor sculpture by artist Armand Toussaint created c. 1840. The work sits within the center of a pool in Holcomb Gardens on the grounds of Butler University in Indianapolis, Indiana, United States. The sculpture depicts the Greek goddess Persephone. In 1993 the sculpture was examined by the Save Outdoor Sculpture! program produced by the Smithsonian Institution.

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

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

Persephone is an outdoor sculpture by artist Armand Toussaint created c. 1840. The work sits within the center of a pool in Holcomb Gardens on the grounds of Butler University in Indianapolis, Indiana, United States. The sculpture depicts the Greek goddess Persephone. In 1993 the sculpture was examined by the Save Outdoor Sculpture! program produced by the Smithsonian Institution.

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

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

Persephone is an outdoor sculpture by artist Armand Toussaint created c. 1840. The work sits within the center of a pool in Holcomb Gardens on the grounds of Butler University in Indianapolis, Indiana, United States. The sculpture depicts the Greek goddess Persephone. In 1993 the sculpture was examined by the Save Outdoor Sculpture! program produced by the Smithsonian Institution.

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: Focus on Persephone (sculpture) and explain the Description.

Persephone depicts the Greek goddess Persephone standing on a limestone base in the center of a concrete octagonal pool. The bronze female figure is draped from the waist down. Her left hand is raised and holds a lit torch of bundled twigs. An inscription on the statue base reads on the left statue base: AD TOUSSAINTSCULPTEURThe right side of the base is inscribed:GRAUX-MARLYFABT DE BRONZESThe front of the base is inscribed just before a 1950 founders mark:PERSEPHONEIN ANCIENT GREEK MYTHOLO-GY, SHE, AS THE DAUGHTEROF ZEUS AND DEMETER, WASWORSHIPPED AS THE GODDESSOF VEGETATION, RETURNINGEACH SPRING FROM THE REALMOF HADES TO HERALD THESEASON OF GROWTH, AND INWINTER DISAPPEARING TO PASSHER TIME, LIKE THE SEED,UNDER THE EARTH. THE STATUEWAS EXECUTED IN PARIS ABOUT1840 BY ARMAND TOUSSAINT,1806-1862. A GIFT OF JAMESIRVING HOLCOMB

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: Explain the Description of this artwork, Persephone (sculpture).

Persephone depicts the Greek goddess Persephone standing on a limestone base in the center of a concrete octagonal pool. The bronze female figure is draped from the waist down. Her left hand is raised and holds a lit torch of bundled twigs. An inscription on the statue base reads on the left statue base: AD TOUSSAINTSCULPTEURThe right side of the base is inscribed:GRAUX-MARLYFABT DE BRONZESThe front of the base is inscribed just before a 1950 founders mark:PERSEPHONEIN ANCIENT GREEK MYTHOLO-GY, SHE, AS THE DAUGHTEROF ZEUS AND DEMETER, WASWORSHIPPED AS THE GODDESSOF VEGETATION, RETURNINGEACH SPRING FROM THE REALMOF HADES TO HERALD THESEASON OF GROWTH, AND INWINTER DISAPPEARING TO PASSHER TIME, LIKE THE SEED,UNDER THE EARTH. THE STATUEWAS EXECUTED IN PARIS ABOUT1840 BY ARMAND TOUSSAINT,1806-1862. A GIFT OF JAMESIRVING HOLCOMB

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: How does Persephone (sculpture) explain its Description?

Persephone depicts the Greek goddess Persephone standing on a limestone base in the center of a concrete octagonal pool. The bronze female figure is draped from the waist down. Her left hand is raised and holds a lit torch of bundled twigs. An inscription on the statue base reads on the left statue base: AD TOUSSAINTSCULPTEURThe right side of the base is inscribed:GRAUX-MARLYFABT DE BRONZESThe front of the base is inscribed just before a 1950 founders mark:PERSEPHONEIN ANCIENT GREEK MYTHOLO-GY, SHE, AS THE DAUGHTEROF ZEUS AND DEMETER, WASWORSHIPPED AS THE GODDESSOF VEGETATION, RETURNINGEACH SPRING FROM THE REALMOF HADES TO HERALD THESEASON OF GROWTH, AND INWINTER DISAPPEARING TO PASSHER TIME, LIKE THE SEED,UNDER THE EARTH. THE STATUEWAS EXECUTED IN PARIS ABOUT1840 BY ARMAND TOUSSAINT,1806-1862. A GIFT OF JAMESIRVING HOLCOMB

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: In Persephone (sculpture), how is the Description discussed?

Persephone depicts the Greek goddess Persephone standing on a limestone base in the center of a concrete octagonal pool. The bronze female figure is draped from the waist down. Her left hand is raised and holds a lit torch of bundled twigs. An inscription on the statue base reads on the left statue base: AD TOUSSAINTSCULPTEURThe right side of the base is inscribed:GRAUX-MARLYFABT DE BRONZESThe front of the base is inscribed just before a 1950 founders mark:PERSEPHONEIN ANCIENT GREEK MYTHOLO-GY, SHE, AS THE DAUGHTEROF ZEUS AND DEMETER, WASWORSHIPPED AS THE GODDESSOF VEGETATION, RETURNINGEACH SPRING FROM THE REALMOF HADES TO HERALD THESEASON OF GROWTH, AND INWINTER DISAPPEARING TO PASSHER TIME, LIKE THE SEED,UNDER THE EARTH. THE STATUEWAS EXECUTED IN PARIS ABOUT1840 BY ARMAND TOUSSAINT,1806-1862. A GIFT OF JAMESIRVING HOLCOMB

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: Focus on Persephone (sculpture) and explain the Acquisition.

The sculpture was made in France and was originally located at the Swift estate in Chicago, Illinois. It was purchased by J. I. Holcomb in 1950  and installed at the gardens.

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: Explain the Acquisition of this artwork, Persephone (sculpture).

The sculpture was made in France and was originally located at the Swift estate in Chicago, Illinois. It was purchased by J. I. Holcomb in 1950  and installed at the gardens.

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: How does Persephone (sculpture) explain its Acquisition?

The sculpture was made in France and was originally located at the Swift estate in Chicago, Illinois. It was purchased by J. I. Holcomb in 1950  and installed at the gardens.

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: In Persephone (sculpture), how is the Acquisition discussed?

The sculpture was made in France and was originally located at the Swift estate in Chicago, Illinois. It was purchased by J. I. Holcomb in 1950  and installed at the gardens.

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: Focus on Persephone (sculpture) and explain the Creation.

The piece, made in France, was created primarily crafted by sculptor Armand Toussaint and cast by Graux-Marly. Upon its placement at Holcomb Gardens, the landscapers were J.I. Holcomb and Arthur Lindberg.

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: Explain the Creation of this artwork, Persephone (sculpture).

The piece, made in France, was created primarily crafted by sculptor Armand Toussaint and cast by Graux-Marly. Upon its placement at Holcomb Gardens, the landscapers were J.I. Holcomb and Arthur Lindberg.

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: How does Persephone (sculpture) explain its Creation?

The piece, made in France, was created primarily crafted by sculptor Armand Toussaint and cast by Graux-Marly. Upon its placement at Holcomb Gardens, the landscapers were J.I. Holcomb and Arthur Lindberg.

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: In Persephone (sculpture), how is the Creation discussed?

The piece, made in France, was created primarily crafted by sculptor Armand Toussaint and cast by Graux-Marly. Upon its placement at Holcomb Gardens, the landscapers were J.I. Holcomb and Arthur Lindberg.

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: Focus on Persephone (sculpture) and explain the Condition.

In 1993 Persephone was surveyed for the Save Outdoor Sculpture! survey on behalf of the Smithsonian Institution. The condition of the sculpture, at that time, was described as "treatment needed."

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: Explain the Condition of this artwork, Persephone (sculpture).

In 1993 Persephone was surveyed for the Save Outdoor Sculpture! survey on behalf of the Smithsonian Institution. The condition of the sculpture, at that time, was described as "treatment needed."

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: How does Persephone (sculpture) explain its Condition?

In 1993 Persephone was surveyed for the Save Outdoor Sculpture! survey on behalf of the Smithsonian Institution. The condition of the sculpture, at that time, was described as "treatment needed."

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: In Persephone (sculpture), how is the Condition discussed?

In 1993 Persephone was surveyed for the Save Outdoor Sculpture! survey on behalf of the Smithsonian Institution. The condition of the sculpture, at that time, was described as "treatment needed."

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: Focus on Persephone (sculpture) and explain the Information.

The sculpture of the Greek goddess is meant to represent Persephone coming back from the underworld every spring to make the flowers and plants bloom. In Fall 2011 a mural in the Johnson Room in Robertson Hall on the Butler campus was created. The 2,120 square-foot mural depicts notable landmarks at Butler, including Persephone.In 1962, students dressed the statue in a bra, referencing the infamous "I dreamed I... in my Maidenform bra" campaign.

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: Explain the Information of this artwork, Persephone (sculpture).

The sculpture of the Greek goddess is meant to represent Persephone coming back from the underworld every spring to make the flowers and plants bloom. In Fall 2011 a mural in the Johnson Room in Robertson Hall on the Butler campus was created. The 2,120 square-foot mural depicts notable landmarks at Butler, including Persephone.In 1962, students dressed the statue in a bra, referencing the infamous "I dreamed I... in my Maidenform bra" campaign.

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: How does Persephone (sculpture) explain its Information?

The sculpture of the Greek goddess is meant to represent Persephone coming back from the underworld every spring to make the flowers and plants bloom. In Fall 2011 a mural in the Johnson Room in Robertson Hall on the Butler campus was created. The 2,120 square-foot mural depicts notable landmarks at Butler, including Persephone.In 1962, students dressed the statue in a bra, referencing the infamous "I dreamed I... in my Maidenform bra" campaign.

Category:Outdoor sculptures in Indianapolis


Persephone (sculpture)

Prompt: In Persephone (sculpture), how is the Information discussed?

The sculpture of the Greek goddess is meant to represent Persephone coming back from the underworld every spring to make the flowers and plants bloom. In Fall 2011 a mural in the Johnson Room in Robertson Hall on the Butler campus was created. The 2,120 square-foot mural depicts notable landmarks at Butler, including Persephone.In 1962, students dressed the statue in a bra, referencing the infamous "I dreamed I... in my Maidenform bra" campaign.

Category:Outdoor sculptures in Indianapolis


Statue of Hockey Player

Prompt: Focus on Statue of Hockey Player and explain the abstract.

The Hockey Player statue is a sculpture located at Championship Plaza, adjacent to the Prudential Center in Newark, New Jersey, home of the New Jersey Devils hockey team, installed in 2009. Entitled Stanley by the artist it has been colloquially known as Iceman, Man of Steel, and the Iron Man.The stainless steel work of an anonymous hockey player taking a slapshot is  22 feet (6.7 m) tall and weighs 7,000 pounds (3,200 kg). It was created by Jon Krawczyk, a native of Boonton Township, New Jersey, and a lifelong Devils fan. It was fabricated in his Malibu, California, studio and shipped cross country in three sections. A Prudential Center Opening Night hat and puck and a Scott Stevens jersey are encapsulated inside.Of the work, Krawczyk said that it was made in a way to appear like blocks of ice molded together. “Especially with the stainless steel-look with the grind marks, it gives it the look that ice has when it breaks, and you get an almost diamond quality. I wanted to do something where you had that movement, and with lights nearby, the statue changes as you move around it. I wanted to have as much motion in it as possible, with it still being a solid sculpture.”Krawczyk is also the creator of another statue at Prudential Center, The Salute, an homage to Martin Brodeur dedicated in 2016.

The Rock is adjacent to the statue at Championship Plaza

Category:Outdoor sculptures in New Jersey

Category:Sculptures of men in New Jersey

Category:Buildings and structures completed in 2009

Category:Public art in Newark, New Jersey

List of public art in Newark, New Jersey


Statue of Hockey Player

Prompt: Explain the abstract of this artwork, Statue of Hockey Player.

The Hockey Player statue is a sculpture located at Championship Plaza, adjacent to the Prudential Center in Newark, New Jersey, home of the New Jersey Devils hockey team, installed in 2009. Entitled Stanley by the artist it has been colloquially known as Iceman, Man of Steel, and the Iron Man.The stainless steel work of an anonymous hockey player taking a slapshot is  22 feet (6.7 m) tall and weighs 7,000 pounds (3,200 kg). It was created by Jon Krawczyk, a native of Boonton Township, New Jersey, and a lifelong Devils fan. It was fabricated in his Malibu, California, studio and shipped cross country in three sections. A Prudential Center Opening Night hat and puck and a Scott Stevens jersey are encapsulated inside.Of the work, Krawczyk said that it was made in a way to appear like blocks of ice molded together. “Especially with the stainless steel-look with the grind marks, it gives it the look that ice has when it breaks, and you get an almost diamond quality. I wanted to do something where you had that movement, and with lights nearby, the statue changes as you move around it. I wanted to have as much motion in it as possible, with it still being a solid sculpture.”Krawczyk is also the creator of another statue at Prudential Center, The Salute, an homage to Martin Brodeur dedicated in 2016.

The Rock is adjacent to the statue at Championship Plaza

Category:Outdoor sculptures in New Jersey

Category:Sculptures of men in New Jersey

Category:Buildings and structures completed in 2009

Category:Public art in Newark, New Jersey

List of public art in Newark, New Jersey


Statue of Hockey Player

Prompt: How does Statue of Hockey Player explain its abstract?

The Hockey Player statue is a sculpture located at Championship Plaza, adjacent to the Prudential Center in Newark, New Jersey, home of the New Jersey Devils hockey team, installed in 2009. Entitled Stanley by the artist it has been colloquially known as Iceman, Man of Steel, and the Iron Man.The stainless steel work of an anonymous hockey player taking a slapshot is  22 feet (6.7 m) tall and weighs 7,000 pounds (3,200 kg). It was created by Jon Krawczyk, a native of Boonton Township, New Jersey, and a lifelong Devils fan. It was fabricated in his Malibu, California, studio and shipped cross country in three sections. A Prudential Center Opening Night hat and puck and a Scott Stevens jersey are encapsulated inside.Of the work, Krawczyk said that it was made in a way to appear like blocks of ice molded together. “Especially with the stainless steel-look with the grind marks, it gives it the look that ice has when it breaks, and you get an almost diamond quality. I wanted to do something where you had that movement, and with lights nearby, the statue changes as you move around it. I wanted to have as much motion in it as possible, with it still being a solid sculpture.”Krawczyk is also the creator of another statue at Prudential Center, The Salute, an homage to Martin Brodeur dedicated in 2016.

The Rock is adjacent to the statue at Championship Plaza

Category:Outdoor sculptures in New Jersey

Category:Sculptures of men in New Jersey

Category:Buildings and structures completed in 2009

Category:Public art in Newark, New Jersey

List of public art in Newark, New Jersey


Statue of Hockey Player

Prompt: In Statue of Hockey Player, how is the abstract discussed?

The Hockey Player statue is a sculpture located at Championship Plaza, adjacent to the Prudential Center in Newark, New Jersey, home of the New Jersey Devils hockey team, installed in 2009. Entitled Stanley by the artist it has been colloquially known as Iceman, Man of Steel, and the Iron Man.The stainless steel work of an anonymous hockey player taking a slapshot is  22 feet (6.7 m) tall and weighs 7,000 pounds (3,200 kg). It was created by Jon Krawczyk, a native of Boonton Township, New Jersey, and a lifelong Devils fan. It was fabricated in his Malibu, California, studio and shipped cross country in three sections. A Prudential Center Opening Night hat and puck and a Scott Stevens jersey are encapsulated inside.Of the work, Krawczyk said that it was made in a way to appear like blocks of ice molded together. “Especially with the stainless steel-look with the grind marks, it gives it the look that ice has when it breaks, and you get an almost diamond quality. I wanted to do something where you had that movement, and with lights nearby, the statue changes as you move around it. I wanted to have as much motion in it as possible, with it still being a solid sculpture.”Krawczyk is also the creator of another statue at Prudential Center, The Salute, an homage to Martin Brodeur dedicated in 2016.

The Rock is adjacent to the statue at Championship Plaza

Category:Outdoor sculptures in New Jersey

Category:Sculptures of men in New Jersey

Category:Buildings and structures completed in 2009

Category:Public art in Newark, New Jersey

List of public art in Newark, New Jersey


The Circumcision (Parmigianino)

Prompt: Focus on The Circumcision (Parmigianino) and explain the abstract.

The Circumcision, a painting by the Italian Mannerist artist Parmigianino of the common subject of the circumcision of Jesus, was executed around 1523 and is now in the Detroit Institute of Arts, Michigan, United States.

Category:Paintings in the Detroit Institute of Arts

Category:Paintings of the Circumcision of Christ

File:Parmigianino, circoncisione, dettaglio, coniglietto.jpg


The Circumcision (Parmigianino)

Prompt: Explain the abstract of this artwork, The Circumcision (Parmigianino).

The Circumcision, a painting by the Italian Mannerist artist Parmigianino of the common subject of the circumcision of Jesus, was executed around 1523 and is now in the Detroit Institute of Arts, Michigan, United States.

Category:Paintings in the Detroit Institute of Arts

Category:Paintings of the Circumcision of Christ

File:Parmigianino, circoncisione, dettaglio, coniglietto.jpg


The Circumcision (Parmigianino)

Prompt: How does The Circumcision (Parmigianino) explain its abstract?

The Circumcision, a painting by the Italian Mannerist artist Parmigianino of the common subject of the circumcision of Jesus, was executed around 1523 and is now in the Detroit Institute of Arts, Michigan, United States.

Category:Paintings in the Detroit Institute of Arts

Category:Paintings of the Circumcision of Christ

File:Parmigianino, circoncisione, dettaglio, coniglietto.jpg


The Circumcision (Parmigianino)

Prompt: In The Circumcision (Parmigianino), how is the abstract discussed?

The Circumcision, a painting by the Italian Mannerist artist Parmigianino of the common subject of the circumcision of Jesus, was executed around 1523 and is now in the Detroit Institute of Arts, Michigan, United States.

Category:Paintings in the Detroit Institute of Arts

Category:Paintings of the Circumcision of Christ

File:Parmigianino, circoncisione, dettaglio, coniglietto.jpg


The Circumcision (Parmigianino)

Prompt: Focus on The Circumcision (Parmigianino) and explain the History.

Giorgio Vasari, the late Renaissance biographer of artists, described a depiction of the Circumcision by Parmigianino. However, his description does not match the Detroit painting: he described a series of characters holding torches and walking which do not appear in this work.The painting is known with certainty only starting from the 1830s, when it was part of the Russian imperial collection, and was copied in an 1851 etching by J. W. Muxel. In 1917 it was acquired at Stockholm by A.B. Nordiska Kompaniet, which a few years later sold it to the American Axel Beskow. In 1936 he donated the work to the Detroit museum.The painting was not unanimously attributed to Parmigianino until 1991.The dating from around 1523 is based on comparison with early other works by the artist and by a preparatory drawing at the Cabinet des Dessins (inv. 6390) of the Louvre museum.

Category:Paintings in the Detroit Institute of Arts

Category:Paintings of the Circumcision of Christ

File:Parmigianino, circoncisione, dettaglio, coniglietto.jpg


The Circumcision (Parmigianino)

Prompt: Explain the History of this artwork, The Circumcision (Parmigianino).

Giorgio Vasari, the late Renaissance biographer of artists, described a depiction of the Circumcision by Parmigianino. However, his description does not match the Detroit painting: he described a series of characters holding torches and walking which do not appear in this work.The painting is known with certainty only starting from the 1830s, when it was part of the Russian imperial collection, and was copied in an 1851 etching by J. W. Muxel. In 1917 it was acquired at Stockholm by A.B. Nordiska Kompaniet, which a few years later sold it to the American Axel Beskow. In 1936 he donated the work to the Detroit museum.The painting was not unanimously attributed to Parmigianino until 1991.The dating from around 1523 is based on comparison with early other works by the artist and by a preparatory drawing at the Cabinet des Dessins (inv. 6390) of the Louvre museum.

Category:Paintings in the Detroit Institute of Arts

Category:Paintings of the Circumcision of Christ

File:Parmigianino, circoncisione, dettaglio, coniglietto.jpg


The Circumcision (Parmigianino)

Prompt: How does The Circumcision (Parmigianino) explain its History?

Giorgio Vasari, the late Renaissance biographer of artists, described a depiction of the Circumcision by Parmigianino. However, his description does not match the Detroit painting: he described a series of characters holding torches and walking which do not appear in this work.The painting is known with certainty only starting from the 1830s, when it was part of the Russian imperial collection, and was copied in an 1851 etching by J. W. Muxel. In 1917 it was acquired at Stockholm by A.B. Nordiska Kompaniet, which a few years later sold it to the American Axel Beskow. In 1936 he donated the work to the Detroit museum.The painting was not unanimously attributed to Parmigianino until 1991.The dating from around 1523 is based on comparison with early other works by the artist and by a preparatory drawing at the Cabinet des Dessins (inv. 6390) of the Louvre museum.

Category:Paintings in the Detroit Institute of Arts

Category:Paintings of the Circumcision of Christ

File:Parmigianino, circoncisione, dettaglio, coniglietto.jpg


The Circumcision (Parmigianino)

Prompt: In The Circumcision (Parmigianino), how is the History discussed?

Giorgio Vasari, the late Renaissance biographer of artists, described a depiction of the Circumcision by Parmigianino. However, his description does not match the Detroit painting: he described a series of characters holding torches and walking which do not appear in this work.The painting is known with certainty only starting from the 1830s, when it was part of the Russian imperial collection, and was copied in an 1851 etching by J. W. Muxel. In 1917 it was acquired at Stockholm by A.B. Nordiska Kompaniet, which a few years later sold it to the American Axel Beskow. In 1936 he donated the work to the Detroit museum.The painting was not unanimously attributed to Parmigianino until 1991.The dating from around 1523 is based on comparison with early other works by the artist and by a preparatory drawing at the Cabinet des Dessins (inv. 6390) of the Louvre museum.

Category:Paintings in the Detroit Institute of Arts

Category:Paintings of the Circumcision of Christ

File:Parmigianino, circoncisione, dettaglio, coniglietto.jpg


The Circumcision (Parmigianino)

Prompt: Focus on The Circumcision (Parmigianino) and explain the Description.

The work shows the circumcision of Jesus as described in the Gospel of Luke; the two sacrificial doves refer to the connected act of the purification of Mary. The Christ child, well illuminated, is surrounded by a crowd of characters. At the left is a very young Madonna, with blonde hair, similar to the artist's Saint Barbara at the Museo del Prado. Also on the left, behind her, are two characters confabulating on a background with the rising sun.At the right are two rows of figures, as well as the priest who holds Jesus on the altar and, in the other hand, the ritual knife. Below, between the offers, are two small rabbits, which resembles similar details in the arch of the first chapel frescoed by Parmigianino in the church of San Giovanni Evangelista at Parma.

Category:Paintings in the Detroit Institute of Arts

Category:Paintings of the Circumcision of Christ

File:Parmigianino, circoncisione, dettaglio, coniglietto.jpg


The Circumcision (Parmigianino)

Prompt: Explain the Description of this artwork, The Circumcision (Parmigianino).

The work shows the circumcision of Jesus as described in the Gospel of Luke; the two sacrificial doves refer to the connected act of the purification of Mary. The Christ child, well illuminated, is surrounded by a crowd of characters. At the left is a very young Madonna, with blonde hair, similar to the artist's Saint Barbara at the Museo del Prado. Also on the left, behind her, are two characters confabulating on a background with the rising sun.At the right are two rows of figures, as well as the priest who holds Jesus on the altar and, in the other hand, the ritual knife. Below, between the offers, are two small rabbits, which resembles similar details in the arch of the first chapel frescoed by Parmigianino in the church of San Giovanni Evangelista at Parma.

Category:Paintings in the Detroit Institute of Arts

Category:Paintings of the Circumcision of Christ

File:Parmigianino, circoncisione, dettaglio, coniglietto.jpg


The Circumcision (Parmigianino)

Prompt: How does The Circumcision (Parmigianino) explain its Description?

The work shows the circumcision of Jesus as described in the Gospel of Luke; the two sacrificial doves refer to the connected act of the purification of Mary. The Christ child, well illuminated, is surrounded by a crowd of characters. At the left is a very young Madonna, with blonde hair, similar to the artist's Saint Barbara at the Museo del Prado. Also on the left, behind her, are two characters confabulating on a background with the rising sun.At the right are two rows of figures, as well as the priest who holds Jesus on the altar and, in the other hand, the ritual knife. Below, between the offers, are two small rabbits, which resembles similar details in the arch of the first chapel frescoed by Parmigianino in the church of San Giovanni Evangelista at Parma.

Category:Paintings in the Detroit Institute of Arts

Category:Paintings of the Circumcision of Christ

File:Parmigianino, circoncisione, dettaglio, coniglietto.jpg


The Circumcision (Parmigianino)

Prompt: In The Circumcision (Parmigianino), how is the Description discussed?

The work shows the circumcision of Jesus as described in the Gospel of Luke; the two sacrificial doves refer to the connected act of the purification of Mary. The Christ child, well illuminated, is surrounded by a crowd of characters. At the left is a very young Madonna, with blonde hair, similar to the artist's Saint Barbara at the Museo del Prado. Also on the left, behind her, are two characters confabulating on a background with the rising sun.At the right are two rows of figures, as well as the priest who holds Jesus on the altar and, in the other hand, the ritual knife. Below, between the offers, are two small rabbits, which resembles similar details in the arch of the first chapel frescoed by Parmigianino in the church of San Giovanni Evangelista at Parma.

Category:Paintings in the Detroit Institute of Arts

Category:Paintings of the Circumcision of Christ

File:Parmigianino, circoncisione, dettaglio, coniglietto.jpg


Portrait of Pietro Aretino

Prompt: Focus on Portrait of Pietro Aretino and explain the abstract.

The Portrait of Pietro Aretino is an oil on canvas portrait of the Renaissance poet Pietro Aretino by Titian, painted around 1545, possibly for Cosimo I de' Medici. It is now in the Sala di Venere of Palazzo Pitti in Florence. Titian painted two other portraits of Aretino: a 1527 portrait in the Kunstmuseum Basel, and a 1537 portrait in the Frick Collection.

Category:Paintings in the Galleria Palatina

Cosimo I de' Medici, Grand Duke of Tuscany


Portrait of Pietro Aretino

Prompt: Explain the abstract of this artwork, Portrait of Pietro Aretino.

The Portrait of Pietro Aretino is an oil on canvas portrait of the Renaissance poet Pietro Aretino by Titian, painted around 1545, possibly for Cosimo I de' Medici. It is now in the Sala di Venere of Palazzo Pitti in Florence. Titian painted two other portraits of Aretino: a 1527 portrait in the Kunstmuseum Basel, and a 1537 portrait in the Frick Collection.

Category:Paintings in the Galleria Palatina

Cosimo I de' Medici, Grand Duke of Tuscany


Portrait of Pietro Aretino

Prompt: How does Portrait of Pietro Aretino explain its abstract?

The Portrait of Pietro Aretino is an oil on canvas portrait of the Renaissance poet Pietro Aretino by Titian, painted around 1545, possibly for Cosimo I de' Medici. It is now in the Sala di Venere of Palazzo Pitti in Florence. Titian painted two other portraits of Aretino: a 1527 portrait in the Kunstmuseum Basel, and a 1537 portrait in the Frick Collection.

Category:Paintings in the Galleria Palatina

Cosimo I de' Medici, Grand Duke of Tuscany


Portrait of Pietro Aretino

Prompt: In Portrait of Pietro Aretino, how is the abstract discussed?

The Portrait of Pietro Aretino is an oil on canvas portrait of the Renaissance poet Pietro Aretino by Titian, painted around 1545, possibly for Cosimo I de' Medici. It is now in the Sala di Venere of Palazzo Pitti in Florence. Titian painted two other portraits of Aretino: a 1527 portrait in the Kunstmuseum Basel, and a 1537 portrait in the Frick Collection.

Category:Paintings in the Galleria Palatina

Cosimo I de' Medici, Grand Duke of Tuscany


Lady in White (Toorop)

Prompt: Focus on Lady in White (Toorop) and explain the abstract.

Lady in White  is an impressionist painting of a woman wearing a white robe, from 1886, by Dutch painter Jan Toorop.

Symphony in White, No. 2: The Little White Girl

Symphony in White, No. 1: The White Girl


Lady in White (Toorop)

Prompt: Explain the abstract of this artwork, Lady in White (Toorop).

Lady in White  is an impressionist painting of a woman wearing a white robe, from 1886, by Dutch painter Jan Toorop.

Symphony in White, No. 2: The Little White Girl

Symphony in White, No. 1: The White Girl


Lady in White (Toorop)

Prompt: How does Lady in White (Toorop) explain its abstract?

Lady in White  is an impressionist painting of a woman wearing a white robe, from 1886, by Dutch painter Jan Toorop.

Symphony in White, No. 2: The Little White Girl

Symphony in White, No. 1: The White Girl


Lady in White (Toorop)

Prompt: In Lady in White (Toorop), how is the abstract discussed?

Lady in White  is an impressionist painting of a woman wearing a white robe, from 1886, by Dutch painter Jan Toorop.

Symphony in White, No. 2: The Little White Girl

Symphony in White, No. 1: The White Girl


Lady in White (Toorop)

Prompt: Focus on Lady in White (Toorop) and explain the Painting.

The painting shows an intense, almost plain white colour on the woman's robe, contrasted with dark tones in the background, in an almost monochrome color palette. Beside the woman, there is a radiant circle of a wine glass filled with red wine. Toorop portrays his future wife in a manner influenced by James Ensor and James McNeill Whistler's Impressionist style.

Symphony in White, No. 2: The Little White Girl

Symphony in White, No. 1: The White Girl


Lady in White (Toorop)

Prompt: Explain the Painting of this artwork, Lady in White (Toorop).

The painting shows an intense, almost plain white colour on the woman's robe, contrasted with dark tones in the background, in an almost monochrome color palette. Beside the woman, there is a radiant circle of a wine glass filled with red wine. Toorop portrays his future wife in a manner influenced by James Ensor and James McNeill Whistler's Impressionist style.

Symphony in White, No. 2: The Little White Girl

Symphony in White, No. 1: The White Girl


Lady in White (Toorop)

Prompt: How does Lady in White (Toorop) explain its Painting?

The painting shows an intense, almost plain white colour on the woman's robe, contrasted with dark tones in the background, in an almost monochrome color palette. Beside the woman, there is a radiant circle of a wine glass filled with red wine. Toorop portrays his future wife in a manner influenced by James Ensor and James McNeill Whistler's Impressionist style.

Symphony in White, No. 2: The Little White Girl

Symphony in White, No. 1: The White Girl


Lady in White (Toorop)

Prompt: In Lady in White (Toorop), how is the Painting discussed?

The painting shows an intense, almost plain white colour on the woman's robe, contrasted with dark tones in the background, in an almost monochrome color palette. Beside the woman, there is a radiant circle of a wine glass filled with red wine. Toorop portrays his future wife in a manner influenced by James Ensor and James McNeill Whistler's Impressionist style.

Symphony in White, No. 2: The Little White Girl

Symphony in White, No. 1: The White Girl


Lady in White (Toorop)

Prompt: Focus on Lady in White (Toorop) and explain the Annie Hall.

The model is Annie Hall (1860-1929), an English woman who was studying in Brussels when Toorop met her in 1885. They got married in 1886.Toorop painted several paintings of Annie, in which she is depicted in similar white robes.  In 1883 while in Brussels Toorop allied himself with a group of avant-garde young artists called Les Vingt ("the twenty"), a group he eventually joined in 1885. The artists of "Les Vingt" and especially James Ensor strongly influenced him during this period.In 1884 Toorop made a trip to London with his friend Emile Verhaeren and the art critic Georges Destrée. At the end of 1885, he returned to England for several months, where he lived on the estate of Annie Hall's parents. During his stay in England, Toorop became very impressed by the work of James McNeill Whistler, whose paintings he had encountered during an exhibition by Les Vingt in 1884. On the introduction of Lawrence Alma-Tadema he visited Whistler's studio in London; between 1885 and 1887 Whistler's work was a great inspiration for Toorop.The influence of James McNeill Whistler on this portrait of Annie Hall is unmistakably reflected in the dominant use of a brightly illuminated white in Annie's dress and embroidery. The presence of the aestheticist beauty ideal is clearly recognizable. Toorop made several portraits of Annie Hall during the period 1885-1887 in the same style, evoking memories of the "symphonies" Symphony in White, No. 1: The White Girl; Symphony in White, No. 2: The Little White Girl, and Symphony in White, No. 3 that Whistler made at that time.In Toorop's Lady in White from the end of 1886, he still seems to be inspired by Whistler more emphatically than in the other portrait he made of Annie called Portrait of Annie Hall in Lissadell. The atmosphere is generally dreamy and melancholic.


Lady in White (Toorop)

Prompt: Explain the Annie Hall of this artwork, Lady in White (Toorop).

The model is Annie Hall (1860-1929), an English woman who was studying in Brussels when Toorop met her in 1885. They got married in 1886.Toorop painted several paintings of Annie, in which she is depicted in similar white robes.  In 1883 while in Brussels Toorop allied himself with a group of avant-garde young artists called Les Vingt ("the twenty"), a group he eventually joined in 1885. The artists of "Les Vingt" and especially James Ensor strongly influenced him during this period.In 1884 Toorop made a trip to London with his friend Emile Verhaeren and the art critic Georges Destrée. At the end of 1885, he returned to England for several months, where he lived on the estate of Annie Hall's parents. During his stay in England, Toorop became very impressed by the work of James McNeill Whistler, whose paintings he had encountered during an exhibition by Les Vingt in 1884. On the introduction of Lawrence Alma-Tadema he visited Whistler's studio in London; between 1885 and 1887 Whistler's work was a great inspiration for Toorop.The influence of James McNeill Whistler on this portrait of Annie Hall is unmistakably reflected in the dominant use of a brightly illuminated white in Annie's dress and embroidery. The presence of the aestheticist beauty ideal is clearly recognizable. Toorop made several portraits of Annie Hall during the period 1885-1887 in the same style, evoking memories of the "symphonies" Symphony in White, No. 1: The White Girl; Symphony in White, No. 2: The Little White Girl, and Symphony in White, No. 3 that Whistler made at that time.In Toorop's Lady in White from the end of 1886, he still seems to be inspired by Whistler more emphatically than in the other portrait he made of Annie called Portrait of Annie Hall in Lissadell. The atmosphere is generally dreamy and melancholic.


Lady in White (Toorop)

Prompt: How does Lady in White (Toorop) explain its Annie Hall?

The model is Annie Hall (1860-1929), an English woman who was studying in Brussels when Toorop met her in 1885. They got married in 1886.Toorop painted several paintings of Annie, in which she is depicted in similar white robes.  In 1883 while in Brussels Toorop allied himself with a group of avant-garde young artists called Les Vingt ("the twenty"), a group he eventually joined in 1885. The artists of "Les Vingt" and especially James Ensor strongly influenced him during this period.In 1884 Toorop made a trip to London with his friend Emile Verhaeren and the art critic Georges Destrée. At the end of 1885, he returned to England for several months, where he lived on the estate of Annie Hall's parents. During his stay in England, Toorop became very impressed by the work of James McNeill Whistler, whose paintings he had encountered during an exhibition by Les Vingt in 1884. On the introduction of Lawrence Alma-Tadema he visited Whistler's studio in London; between 1885 and 1887 Whistler's work was a great inspiration for Toorop.The influence of James McNeill Whistler on this portrait of Annie Hall is unmistakably reflected in the dominant use of a brightly illuminated white in Annie's dress and embroidery. The presence of the aestheticist beauty ideal is clearly recognizable. Toorop made several portraits of Annie Hall during the period 1885-1887 in the same style, evoking memories of the "symphonies" Symphony in White, No. 1: The White Girl; Symphony in White, No. 2: The Little White Girl, and Symphony in White, No. 3 that Whistler made at that time.In Toorop's Lady in White from the end of 1886, he still seems to be inspired by Whistler more emphatically than in the other portrait he made of Annie called Portrait of Annie Hall in Lissadell. The atmosphere is generally dreamy and melancholic.


Lady in White (Toorop)

Prompt: In Lady in White (Toorop), how is the Annie Hall discussed?

The model is Annie Hall (1860-1929), an English woman who was studying in Brussels when Toorop met her in 1885. They got married in 1886.Toorop painted several paintings of Annie, in which she is depicted in similar white robes.  In 1883 while in Brussels Toorop allied himself with a group of avant-garde young artists called Les Vingt ("the twenty"), a group he eventually joined in 1885. The artists of "Les Vingt" and especially James Ensor strongly influenced him during this period.In 1884 Toorop made a trip to London with his friend Emile Verhaeren and the art critic Georges Destrée. At the end of 1885, he returned to England for several months, where he lived on the estate of Annie Hall's parents. During his stay in England, Toorop became very impressed by the work of James McNeill Whistler, whose paintings he had encountered during an exhibition by Les Vingt in 1884. On the introduction of Lawrence Alma-Tadema he visited Whistler's studio in London; between 1885 and 1887 Whistler's work was a great inspiration for Toorop.The influence of James McNeill Whistler on this portrait of Annie Hall is unmistakably reflected in the dominant use of a brightly illuminated white in Annie's dress and embroidery. The presence of the aestheticist beauty ideal is clearly recognizable. Toorop made several portraits of Annie Hall during the period 1885-1887 in the same style, evoking memories of the "symphonies" Symphony in White, No. 1: The White Girl; Symphony in White, No. 2: The Little White Girl, and Symphony in White, No. 3 that Whistler made at that time.In Toorop's Lady in White from the end of 1886, he still seems to be inspired by Whistler more emphatically than in the other portrait he made of Annie called Portrait of Annie Hall in Lissadell. The atmosphere is generally dreamy and melancholic.


The Shame (performance art)

Prompt: Focus on The Shame (performance art) and explain the abstract.

The Shame (Spanish: La vergüenza) is a conceptual, critical and process artwork by Abel Azcona. Developed along the West Bank Wall in 2018, in The Shame Azcona installed original fragments of the Berlin Wall along the Israeli wall in the West Bank, which forms part of the barrier built throughout Israel to separate the Palestinian lands. Azcona made a metaphorical critique by merging both walls in the work. The actual installation, as if it were a piece of land art, currently remains along the wall, and has been exhibited in different countries through photographic and video art. The Israeli government has prohibited the artist from entering Israel because of the piece.

Abel Azcona
Israeli–Palestinian conflict
Berlin Wall
University of Granada
Spanish
Category:Performances
Israel
Performance art
Cabinet of Israel
Endurance art
Art
West Bank Wall
Israeli government
Palestine
Palestinian lands
Installation
Palestinian territories
List of Berlin Wall segments
West Bank barrier
West Bank
Universidad de Granada
Performance Art
University of the Basque Country
Wall of Shame
Spanish language
land art
Universidad del País Vasco
Installation art


The Shame (performance art)

Prompt: Explain the abstract of this artwork, The Shame (performance art).

The Shame (Spanish: La vergüenza) is a conceptual, critical and process artwork by Abel Azcona. Developed along the West Bank Wall in 2018, in The Shame Azcona installed original fragments of the Berlin Wall along the Israeli wall in the West Bank, which forms part of the barrier built throughout Israel to separate the Palestinian lands. Azcona made a metaphorical critique by merging both walls in the work. The actual installation, as if it were a piece of land art, currently remains along the wall, and has been exhibited in different countries through photographic and video art. The Israeli government has prohibited the artist from entering Israel because of the piece.

Abel Azcona
Israeli–Palestinian conflict
Berlin Wall
University of Granada
Spanish
Category:Performances
Israel
Performance art
Cabinet of Israel
Endurance art
Art
West Bank Wall
Israeli government
Palestine
Palestinian lands
Installation
Palestinian territories
List of Berlin Wall segments
West Bank barrier
West Bank
Universidad de Granada
Performance Art
University of the Basque Country
Wall of Shame
Spanish language
land art
Universidad del País Vasco
Installation art


The Shame (performance art)

Prompt: How does The Shame (performance art) explain its abstract?

The Shame (Spanish: La vergüenza) is a conceptual, critical and process artwork by Abel Azcona. Developed along the West Bank Wall in 2018, in The Shame Azcona installed original fragments of the Berlin Wall along the Israeli wall in the West Bank, which forms part of the barrier built throughout Israel to separate the Palestinian lands. Azcona made a metaphorical critique by merging both walls in the work. The actual installation, as if it were a piece of land art, currently remains along the wall, and has been exhibited in different countries through photographic and video art. The Israeli government has prohibited the artist from entering Israel because of the piece.

Abel Azcona
Israeli–Palestinian conflict
Berlin Wall
University of Granada
Spanish
Category:Performances
Israel
Performance art
Cabinet of Israel
Endurance art
Art
West Bank Wall
Israeli government
Palestine
Palestinian lands
Installation
Palestinian territories
List of Berlin Wall segments
West Bank barrier
West Bank
Universidad de Granada
Performance Art
University of the Basque Country
Wall of Shame
Spanish language
land art
Universidad del País Vasco
Installation art


The Shame (performance art)

Prompt: In The Shame (performance art), how is the abstract discussed?

The Shame (Spanish: La vergüenza) is a conceptual, critical and process artwork by Abel Azcona. Developed along the West Bank Wall in 2018, in The Shame Azcona installed original fragments of the Berlin Wall along the Israeli wall in the West Bank, which forms part of the barrier built throughout Israel to separate the Palestinian lands. Azcona made a metaphorical critique by merging both walls in the work. The actual installation, as if it were a piece of land art, currently remains along the wall, and has been exhibited in different countries through photographic and video art. The Israeli government has prohibited the artist from entering Israel because of the piece.

Abel Azcona
Israeli–Palestinian conflict
Berlin Wall
University of Granada
Spanish
Category:Performances
Israel
Performance art
Cabinet of Israel
Endurance art
Art
West Bank Wall
Israeli government
Palestine
Palestinian lands
Installation
Palestinian territories
List of Berlin Wall segments
West Bank barrier
West Bank
Universidad de Granada
Performance Art
University of the Basque Country
Wall of Shame
Spanish language
land art
Universidad del País Vasco
Installation art


Still Life and Street

Prompt: Focus on Still Life and Street and explain the abstract.

Still Life and Street is an unusual  woodcut print by the Dutch artist M. C. Escher which was first printed in March, 1937. It was his first print of an impossible reality. In this artwork there are two distinctly recognizable realities bound together in a natural yet impossible way. Looked at from the window, the houses make book-rests between which tiny dolls are set up. Looked at from the street, the books stand yards high and a gigantic tobacco jar stands at the crossroads.A small street in Savona, Italy, was the inspiration for this work. Escher said it was one of his favorite drawings but thought he could have drawn it better.This image is a classic example of Escher's plays on perspective. In it, the horizontal plane of the table continues into the distance to become the street, and the rows of books on the table are seen to lean against the tall buildings that line the street.

Harry N. Abrams, Inc.
woodcut
Perspective (visual)
Category:Works by M. C. Escher
Category:1937 works
Abrams Books
M. C. Escher
perspective
Category:Woodcuts
Netherlands
Dutch
Savona


Still Life and Street

Prompt: Explain the abstract of this artwork, Still Life and Street.

Still Life and Street is an unusual  woodcut print by the Dutch artist M. C. Escher which was first printed in March, 1937. It was his first print of an impossible reality. In this artwork there are two distinctly recognizable realities bound together in a natural yet impossible way. Looked at from the window, the houses make book-rests between which tiny dolls are set up. Looked at from the street, the books stand yards high and a gigantic tobacco jar stands at the crossroads.A small street in Savona, Italy, was the inspiration for this work. Escher said it was one of his favorite drawings but thought he could have drawn it better.This image is a classic example of Escher's plays on perspective. In it, the horizontal plane of the table continues into the distance to become the street, and the rows of books on the table are seen to lean against the tall buildings that line the street.

Harry N. Abrams, Inc.
woodcut
Perspective (visual)
Category:Works by M. C. Escher
Category:1937 works
Abrams Books
M. C. Escher
perspective
Category:Woodcuts
Netherlands
Dutch
Savona


Still Life and Street

Prompt: How does Still Life and Street explain its abstract?

Still Life and Street is an unusual  woodcut print by the Dutch artist M. C. Escher which was first printed in March, 1937. It was his first print of an impossible reality. In this artwork there are two distinctly recognizable realities bound together in a natural yet impossible way. Looked at from the window, the houses make book-rests between which tiny dolls are set up. Looked at from the street, the books stand yards high and a gigantic tobacco jar stands at the crossroads.A small street in Savona, Italy, was the inspiration for this work. Escher said it was one of his favorite drawings but thought he could have drawn it better.This image is a classic example of Escher's plays on perspective. In it, the horizontal plane of the table continues into the distance to become the street, and the rows of books on the table are seen to lean against the tall buildings that line the street.

Harry N. Abrams, Inc.
woodcut
Perspective (visual)
Category:Works by M. C. Escher
Category:1937 works
Abrams Books
M. C. Escher
perspective
Category:Woodcuts
Netherlands
Dutch
Savona


Still Life and Street

Prompt: In Still Life and Street, how is the abstract discussed?

Still Life and Street is an unusual  woodcut print by the Dutch artist M. C. Escher which was first printed in March, 1937. It was his first print of an impossible reality. In this artwork there are two distinctly recognizable realities bound together in a natural yet impossible way. Looked at from the window, the houses make book-rests between which tiny dolls are set up. Looked at from the street, the books stand yards high and a gigantic tobacco jar stands at the crossroads.A small street in Savona, Italy, was the inspiration for this work. Escher said it was one of his favorite drawings but thought he could have drawn it better.This image is a classic example of Escher's plays on perspective. In it, the horizontal plane of the table continues into the distance to become the street, and the rows of books on the table are seen to lean against the tall buildings that line the street.

Harry N. Abrams, Inc.
woodcut
Perspective (visual)
Category:Works by M. C. Escher
Category:1937 works
Abrams Books
M. C. Escher
perspective
Category:Woodcuts
Netherlands
Dutch
Savona


Prompt: Focus on Lady Dorothy Browne and Sir Thomas Browne and explain the abstract.

Lady Dorothy Browne and Sir Thomas Browne is an oil on panel painting attributed to the English artist Joan Carlile, and probably completed between 1641 and 1650. The painting depicts English physician Thomas Browne and his wife Dorothy.

Category:Paintings in the National Portrait Gallery, London


Prompt: Explain the abstract of this artwork, Lady Dorothy Browne and Sir Thomas Browne.

Lady Dorothy Browne and Sir Thomas Browne is an oil on panel painting attributed to the English artist Joan Carlile, and probably completed between 1641 and 1650. The painting depicts English physician Thomas Browne and his wife Dorothy.

Category:Paintings in the National Portrait Gallery, London


Prompt: How does Lady Dorothy Browne and Sir Thomas Browne explain its abstract?

Lady Dorothy Browne and Sir Thomas Browne is an oil on panel painting attributed to the English artist Joan Carlile, and probably completed between 1641 and 1650. The painting depicts English physician Thomas Browne and his wife Dorothy.

Category:Paintings in the National Portrait Gallery, London


Prompt: In Lady Dorothy Browne and Sir Thomas Browne, how is the abstract discussed?

Lady Dorothy Browne and Sir Thomas Browne is an oil on panel painting attributed to the English artist Joan Carlile, and probably completed between 1641 and 1650. The painting depicts English physician Thomas Browne and his wife Dorothy.

Category:Paintings in the National Portrait Gallery, London


Prompt: Focus on Lady Dorothy Browne and Sir Thomas Browne and explain the Subjects.

Sir Thomas Browne (1605–1682), the son of Thomas Browne, a silk merchant from Upton, Cheshire, and Anne Browne, the daughter of Paul Garraway of Sussex, was born in the parish of St Michael, Cheapside, in London on 19 October 1605. His father died while he was still young and he was sent to school at Winchester College. In 1623 Browne went to the University of Oxford. He graduated from Pembroke College, Oxford in 1626, after which he studied medicine at Padua and Montpellier universities, completing his studies at Leiden, where he received a medical degree in 1633.  He settled in Norwich in 1637 and practised medicine there until his death in 1682. He was noted for the literary works  Religio Medici (The Religion of a Physician) and Hydriotaphia, Urn Burial. His wife, Lady Browne (née Dorothy Mileham, 1621–1685), came from a landed family in the Norfolk town of Burlingham St Peter. She was described by family friend John Whitefoot as "a lady of such a symmetrical proportion to her worthy husband, both in the graces of her body and mind, that they seemed to come together by a kind of natural magnetism". The couple married in 1641.

Category:Paintings in the National Portrait Gallery, London


Prompt: Explain the Subjects of this artwork, Lady Dorothy Browne and Sir Thomas Browne.

Sir Thomas Browne (1605–1682), the son of Thomas Browne, a silk merchant from Upton, Cheshire, and Anne Browne, the daughter of Paul Garraway of Sussex, was born in the parish of St Michael, Cheapside, in London on 19 October 1605. His father died while he was still young and he was sent to school at Winchester College. In 1623 Browne went to the University of Oxford. He graduated from Pembroke College, Oxford in 1626, after which he studied medicine at Padua and Montpellier universities, completing his studies at Leiden, where he received a medical degree in 1633.  He settled in Norwich in 1637 and practised medicine there until his death in 1682. He was noted for the literary works  Religio Medici (The Religion of a Physician) and Hydriotaphia, Urn Burial. His wife, Lady Browne (née Dorothy Mileham, 1621–1685), came from a landed family in the Norfolk town of Burlingham St Peter. She was described by family friend John Whitefoot as "a lady of such a symmetrical proportion to her worthy husband, both in the graces of her body and mind, that they seemed to come together by a kind of natural magnetism". The couple married in 1641.

Category:Paintings in the National Portrait Gallery, London


Prompt: How does Lady Dorothy Browne and Sir Thomas Browne explain its Subjects?

Sir Thomas Browne (1605–1682), the son of Thomas Browne, a silk merchant from Upton, Cheshire, and Anne Browne, the daughter of Paul Garraway of Sussex, was born in the parish of St Michael, Cheapside, in London on 19 October 1605. His father died while he was still young and he was sent to school at Winchester College. In 1623 Browne went to the University of Oxford. He graduated from Pembroke College, Oxford in 1626, after which he studied medicine at Padua and Montpellier universities, completing his studies at Leiden, where he received a medical degree in 1633.  He settled in Norwich in 1637 and practised medicine there until his death in 1682. He was noted for the literary works  Religio Medici (The Religion of a Physician) and Hydriotaphia, Urn Burial. His wife, Lady Browne (née Dorothy Mileham, 1621–1685), came from a landed family in the Norfolk town of Burlingham St Peter. She was described by family friend John Whitefoot as "a lady of such a symmetrical proportion to her worthy husband, both in the graces of her body and mind, that they seemed to come together by a kind of natural magnetism". The couple married in 1641.

Category:Paintings in the National Portrait Gallery, London


Prompt: In Lady Dorothy Browne and Sir Thomas Browne, how is the Subjects discussed?

Sir Thomas Browne (1605–1682), the son of Thomas Browne, a silk merchant from Upton, Cheshire, and Anne Browne, the daughter of Paul Garraway of Sussex, was born in the parish of St Michael, Cheapside, in London on 19 October 1605. His father died while he was still young and he was sent to school at Winchester College. In 1623 Browne went to the University of Oxford. He graduated from Pembroke College, Oxford in 1626, after which he studied medicine at Padua and Montpellier universities, completing his studies at Leiden, where he received a medical degree in 1633.  He settled in Norwich in 1637 and practised medicine there until his death in 1682. He was noted for the literary works  Religio Medici (The Religion of a Physician) and Hydriotaphia, Urn Burial. His wife, Lady Browne (née Dorothy Mileham, 1621–1685), came from a landed family in the Norfolk town of Burlingham St Peter. She was described by family friend John Whitefoot as "a lady of such a symmetrical proportion to her worthy husband, both in the graces of her body and mind, that they seemed to come together by a kind of natural magnetism". The couple married in 1641.

Category:Paintings in the National Portrait Gallery, London


Prompt: Focus on Lady Dorothy Browne and Sir Thomas Browne and explain the Description.

The two Brownes are portrayed in contrasting styles. Lady Browne, dressed with two brooches and a headpiece, is looking directly at the viewer with a pleasant expression. Sir Thomas, on the other hand, appears to be staring into the distance. He is dressed in black with a white collar. American professor Reid Barbour has likened the pair to the pastoral poems of John Milton, with Lady Browne representing the upbeat L'Allegro while Sir Thomas is the serious Il Penseroso. Barbour nonetheless described the two as complementing each other. There are no books or symbols visible in the painting.The painting is 184 by 229 millimetres (7.2 in × 9.0 in) in size, and has been in the permanent collection of the National Portrait Gallery, London since 1924 under the catalogue number NPG 2062.

Category:Paintings in the National Portrait Gallery, London


Prompt: Explain the Description of this artwork, Lady Dorothy Browne and Sir Thomas Browne.

The two Brownes are portrayed in contrasting styles. Lady Browne, dressed with two brooches and a headpiece, is looking directly at the viewer with a pleasant expression. Sir Thomas, on the other hand, appears to be staring into the distance. He is dressed in black with a white collar. American professor Reid Barbour has likened the pair to the pastoral poems of John Milton, with Lady Browne representing the upbeat L'Allegro while Sir Thomas is the serious Il Penseroso. Barbour nonetheless described the two as complementing each other. There are no books or symbols visible in the painting.The painting is 184 by 229 millimetres (7.2 in × 9.0 in) in size, and has been in the permanent collection of the National Portrait Gallery, London since 1924 under the catalogue number NPG 2062.

Category:Paintings in the National Portrait Gallery, London


Prompt: How does Lady Dorothy Browne and Sir Thomas Browne explain its Description?

The two Brownes are portrayed in contrasting styles. Lady Browne, dressed with two brooches and a headpiece, is looking directly at the viewer with a pleasant expression. Sir Thomas, on the other hand, appears to be staring into the distance. He is dressed in black with a white collar. American professor Reid Barbour has likened the pair to the pastoral poems of John Milton, with Lady Browne representing the upbeat L'Allegro while Sir Thomas is the serious Il Penseroso. Barbour nonetheless described the two as complementing each other. There are no books or symbols visible in the painting.The painting is 184 by 229 millimetres (7.2 in × 9.0 in) in size, and has been in the permanent collection of the National Portrait Gallery, London since 1924 under the catalogue number NPG 2062.

Category:Paintings in the National Portrait Gallery, London


Prompt: In Lady Dorothy Browne and Sir Thomas Browne, how is the Description discussed?

The two Brownes are portrayed in contrasting styles. Lady Browne, dressed with two brooches and a headpiece, is looking directly at the viewer with a pleasant expression. Sir Thomas, on the other hand, appears to be staring into the distance. He is dressed in black with a white collar. American professor Reid Barbour has likened the pair to the pastoral poems of John Milton, with Lady Browne representing the upbeat L'Allegro while Sir Thomas is the serious Il Penseroso. Barbour nonetheless described the two as complementing each other. There are no books or symbols visible in the painting.The painting is 184 by 229 millimetres (7.2 in × 9.0 in) in size, and has been in the permanent collection of the National Portrait Gallery, London since 1924 under the catalogue number NPG 2062.

Category:Paintings in the National Portrait Gallery, London


The Afternoon Meal (Luis Meléndez)

Prompt: Focus on The Afternoon Meal (Luis Meléndez) and explain the abstract.

The Afternoon Meal (in Spanish, La Merienda) is a mid-eighteenth-century still life painting by Spanish painter Luis Egidio Meléndez (1716–1780).It was created around 1772. Done in oil on canvas, the painting depicts an assortment of fruits and bread set before a stark background. The painting is a straight-sided ogee frame with sculpted Rococo corners and shallow-relief details, collected by the Metropolitan Museum of Art.

Category:Paintings in the Metropolitan Museum of Art


The Afternoon Meal (Luis Meléndez)

Prompt: Explain the abstract of this artwork, The Afternoon Meal (Luis Meléndez).

The Afternoon Meal (in Spanish, La Merienda) is a mid-eighteenth-century still life painting by Spanish painter Luis Egidio Meléndez (1716–1780).It was created around 1772. Done in oil on canvas, the painting depicts an assortment of fruits and bread set before a stark background. The painting is a straight-sided ogee frame with sculpted Rococo corners and shallow-relief details, collected by the Metropolitan Museum of Art.

Category:Paintings in the Metropolitan Museum of Art


The Afternoon Meal (Luis Meléndez)

Prompt: How does The Afternoon Meal (Luis Meléndez) explain its abstract?

The Afternoon Meal (in Spanish, La Merienda) is a mid-eighteenth-century still life painting by Spanish painter Luis Egidio Meléndez (1716–1780).It was created around 1772. Done in oil on canvas, the painting depicts an assortment of fruits and bread set before a stark background. The painting is a straight-sided ogee frame with sculpted Rococo corners and shallow-relief details, collected by the Metropolitan Museum of Art.

Category:Paintings in the Metropolitan Museum of Art


The Afternoon Meal (Luis Meléndez)

Prompt: In The Afternoon Meal (Luis Meléndez), how is the abstract discussed?

The Afternoon Meal (in Spanish, La Merienda) is a mid-eighteenth-century still life painting by Spanish painter Luis Egidio Meléndez (1716–1780).It was created around 1772. Done in oil on canvas, the painting depicts an assortment of fruits and bread set before a stark background. The painting is a straight-sided ogee frame with sculpted Rococo corners and shallow-relief details, collected by the Metropolitan Museum of Art.

Category:Paintings in the Metropolitan Museum of Art


Statue of Alan Turing, Bletchley Park

Prompt: Focus on Statue of Alan Turing, Bletchley Park and explain the abstract.

A statue of Alan Turing, created in slate by Stephen Kettle in 2007, is located at Bletchley Park in England as part of an exhibition that honours Turing (1912–1954). It was commissioned by the American businessman and philanthropist Sidney Frank (1919–2006).The slate for the sculpture was selected from North Wales because the sculptor learned that Turing used to holiday there as a child and adult. The slate originated from Llechwedd, near Blaenau Ffestiniog. Turing is depicted seated and looking at a German Enigma machine. He is dressed in a jacket, but there is some deliberate untidiness in his clothing.In 2007, it was commented that the statue acknowledges Turing as a codebreaker but not as a gay icon. The statue became part of a new exhibition at Bletchley Park on Alan Turing in 2012, the centenary year of Turing's birth. Sir John Dermot Turing, nephew of Alan Turing, attended the opening of the exhibition and posed with the statue.

Category:LGBTQ monuments and memorials in Europe

Category:Cultural depictions of Alan Turing

Category:Monuments and memorials in Buckinghamshire


Statue of Alan Turing, Bletchley Park

Prompt: Explain the abstract of this artwork, Statue of Alan Turing, Bletchley Park.

A statue of Alan Turing, created in slate by Stephen Kettle in 2007, is located at Bletchley Park in England as part of an exhibition that honours Turing (1912–1954). It was commissioned by the American businessman and philanthropist Sidney Frank (1919–2006).The slate for the sculpture was selected from North Wales because the sculptor learned that Turing used to holiday there as a child and adult. The slate originated from Llechwedd, near Blaenau Ffestiniog. Turing is depicted seated and looking at a German Enigma machine. He is dressed in a jacket, but there is some deliberate untidiness in his clothing.In 2007, it was commented that the statue acknowledges Turing as a codebreaker but not as a gay icon. The statue became part of a new exhibition at Bletchley Park on Alan Turing in 2012, the centenary year of Turing's birth. Sir John Dermot Turing, nephew of Alan Turing, attended the opening of the exhibition and posed with the statue.

Category:LGBTQ monuments and memorials in Europe

Category:Cultural depictions of Alan Turing

Category:Monuments and memorials in Buckinghamshire


Statue of Alan Turing, Bletchley Park

Prompt: How does Statue of Alan Turing, Bletchley Park explain its abstract?

A statue of Alan Turing, created in slate by Stephen Kettle in 2007, is located at Bletchley Park in England as part of an exhibition that honours Turing (1912–1954). It was commissioned by the American businessman and philanthropist Sidney Frank (1919–2006).The slate for the sculpture was selected from North Wales because the sculptor learned that Turing used to holiday there as a child and adult. The slate originated from Llechwedd, near Blaenau Ffestiniog. Turing is depicted seated and looking at a German Enigma machine. He is dressed in a jacket, but there is some deliberate untidiness in his clothing.In 2007, it was commented that the statue acknowledges Turing as a codebreaker but not as a gay icon. The statue became part of a new exhibition at Bletchley Park on Alan Turing in 2012, the centenary year of Turing's birth. Sir John Dermot Turing, nephew of Alan Turing, attended the opening of the exhibition and posed with the statue.

Category:LGBTQ monuments and memorials in Europe

Category:Cultural depictions of Alan Turing

Category:Monuments and memorials in Buckinghamshire


Statue of Alan Turing, Bletchley Park

Prompt: In Statue of Alan Turing, Bletchley Park, how is the abstract discussed?

A statue of Alan Turing, created in slate by Stephen Kettle in 2007, is located at Bletchley Park in England as part of an exhibition that honours Turing (1912–1954). It was commissioned by the American businessman and philanthropist Sidney Frank (1919–2006).The slate for the sculpture was selected from North Wales because the sculptor learned that Turing used to holiday there as a child and adult. The slate originated from Llechwedd, near Blaenau Ffestiniog. Turing is depicted seated and looking at a German Enigma machine. He is dressed in a jacket, but there is some deliberate untidiness in his clothing.In 2007, it was commented that the statue acknowledges Turing as a codebreaker but not as a gay icon. The statue became part of a new exhibition at Bletchley Park on Alan Turing in 2012, the centenary year of Turing's birth. Sir John Dermot Turing, nephew of Alan Turing, attended the opening of the exhibition and posed with the statue.

Category:LGBTQ monuments and memorials in Europe

Category:Cultural depictions of Alan Turing

Category:Monuments and memorials in Buckinghamshire


The Prophet Jonah (Stavrakis)

Prompt: Focus on The Prophet Jonah (Stavrakis) and explain the abstract.

The Prophet Jonah was a tempera painting created by Demetrios Stavrakis.  He was a Greek painter representing the Heptanese School.  His nickname was Romanos.  He was active during the 18th century.  He flourished on the island of Zakynthos.  He was the nephew of Stylianos Stavrakis and Andreas Stavrakis. Both were famous painters.  He thrived during the Greek Rococo and Neoclassical eras in Greek art.  Fifteen of his works survived.According to the Book of Jonah the Prophet, during his lifetime Jonah was commanded by God to travel to the city Nineveh to condemn their wickedness.  He decided to flee from the presence of the lord and he set sail for Tarshish, a huge storm arose.  The sailors realized that it was no ordinary storm and that Jonah was to blame.  Jonah admitted that he was to blame and that if he was thrown overboard, the storm will cease.  After being cast from the ship, Jonah was swallowed by a whale.  He resided in the belly of the whale for three days and three nights.  Completely distraught he prayed to God and promised to do what he was asked. God commanded the whale to vomit Jonah.  The story inspired countless paintings about Jonah and the whale. Notable versions of Jonah and the whale were completed by famous artists from all over the world namely Pieter Lastman, Jacopo Tintoretto, and Michelangelo.  Jan Sadeler I was a Flemish Renaissance engraver. His career began in Antwerp and he eventually migrated to Venice with his brother and son. He died in Venice around 1600. His engravings influenced countless Greek painters namely Theodore Poulakis, Georgios Markazinis and Konstantinos Tzanes.  Stavrakis also used one of his engravings for The Prophet Jonah.  The painting is part of the collection of the Byzantine Museum of Zakynthos.

Category:Paintings of the Heptanese school

Category:Works based on the Book of Jonah


The Prophet Jonah (Stavrakis)

Prompt: Explain the abstract of this artwork, The Prophet Jonah (Stavrakis).

The Prophet Jonah was a tempera painting created by Demetrios Stavrakis.  He was a Greek painter representing the Heptanese School.  His nickname was Romanos.  He was active during the 18th century.  He flourished on the island of Zakynthos.  He was the nephew of Stylianos Stavrakis and Andreas Stavrakis. Both were famous painters.  He thrived during the Greek Rococo and Neoclassical eras in Greek art.  Fifteen of his works survived.According to the Book of Jonah the Prophet, during his lifetime Jonah was commanded by God to travel to the city Nineveh to condemn their wickedness.  He decided to flee from the presence of the lord and he set sail for Tarshish, a huge storm arose.  The sailors realized that it was no ordinary storm and that Jonah was to blame.  Jonah admitted that he was to blame and that if he was thrown overboard, the storm will cease.  After being cast from the ship, Jonah was swallowed by a whale.  He resided in the belly of the whale for three days and three nights.  Completely distraught he prayed to God and promised to do what he was asked. God commanded the whale to vomit Jonah.  The story inspired countless paintings about Jonah and the whale. Notable versions of Jonah and the whale were completed by famous artists from all over the world namely Pieter Lastman, Jacopo Tintoretto, and Michelangelo.  Jan Sadeler I was a Flemish Renaissance engraver. His career began in Antwerp and he eventually migrated to Venice with his brother and son. He died in Venice around 1600. His engravings influenced countless Greek painters namely Theodore Poulakis, Georgios Markazinis and Konstantinos Tzanes.  Stavrakis also used one of his engravings for The Prophet Jonah.  The painting is part of the collection of the Byzantine Museum of Zakynthos.

Category:Paintings of the Heptanese school

Category:Works based on the Book of Jonah


The Prophet Jonah (Stavrakis)

Prompt: How does The Prophet Jonah (Stavrakis) explain its abstract?

The Prophet Jonah was a tempera painting created by Demetrios Stavrakis.  He was a Greek painter representing the Heptanese School.  His nickname was Romanos.  He was active during the 18th century.  He flourished on the island of Zakynthos.  He was the nephew of Stylianos Stavrakis and Andreas Stavrakis. Both were famous painters.  He thrived during the Greek Rococo and Neoclassical eras in Greek art.  Fifteen of his works survived.According to the Book of Jonah the Prophet, during his lifetime Jonah was commanded by God to travel to the city Nineveh to condemn their wickedness.  He decided to flee from the presence of the lord and he set sail for Tarshish, a huge storm arose.  The sailors realized that it was no ordinary storm and that Jonah was to blame.  Jonah admitted that he was to blame and that if he was thrown overboard, the storm will cease.  After being cast from the ship, Jonah was swallowed by a whale.  He resided in the belly of the whale for three days and three nights.  Completely distraught he prayed to God and promised to do what he was asked. God commanded the whale to vomit Jonah.  The story inspired countless paintings about Jonah and the whale. Notable versions of Jonah and the whale were completed by famous artists from all over the world namely Pieter Lastman, Jacopo Tintoretto, and Michelangelo.  Jan Sadeler I was a Flemish Renaissance engraver. His career began in Antwerp and he eventually migrated to Venice with his brother and son. He died in Venice around 1600. His engravings influenced countless Greek painters namely Theodore Poulakis, Georgios Markazinis and Konstantinos Tzanes.  Stavrakis also used one of his engravings for The Prophet Jonah.  The painting is part of the collection of the Byzantine Museum of Zakynthos.

Category:Paintings of the Heptanese school

Category:Works based on the Book of Jonah


The Prophet Jonah (Stavrakis)

Prompt: In The Prophet Jonah (Stavrakis), how is the abstract discussed?

The Prophet Jonah was a tempera painting created by Demetrios Stavrakis.  He was a Greek painter representing the Heptanese School.  His nickname was Romanos.  He was active during the 18th century.  He flourished on the island of Zakynthos.  He was the nephew of Stylianos Stavrakis and Andreas Stavrakis. Both were famous painters.  He thrived during the Greek Rococo and Neoclassical eras in Greek art.  Fifteen of his works survived.According to the Book of Jonah the Prophet, during his lifetime Jonah was commanded by God to travel to the city Nineveh to condemn their wickedness.  He decided to flee from the presence of the lord and he set sail for Tarshish, a huge storm arose.  The sailors realized that it was no ordinary storm and that Jonah was to blame.  Jonah admitted that he was to blame and that if he was thrown overboard, the storm will cease.  After being cast from the ship, Jonah was swallowed by a whale.  He resided in the belly of the whale for three days and three nights.  Completely distraught he prayed to God and promised to do what he was asked. God commanded the whale to vomit Jonah.  The story inspired countless paintings about Jonah and the whale. Notable versions of Jonah and the whale were completed by famous artists from all over the world namely Pieter Lastman, Jacopo Tintoretto, and Michelangelo.  Jan Sadeler I was a Flemish Renaissance engraver. His career began in Antwerp and he eventually migrated to Venice with his brother and son. He died in Venice around 1600. His engravings influenced countless Greek painters namely Theodore Poulakis, Georgios Markazinis and Konstantinos Tzanes.  Stavrakis also used one of his engravings for The Prophet Jonah.  The painting is part of the collection of the Byzantine Museum of Zakynthos.

Category:Paintings of the Heptanese school

Category:Works based on the Book of Jonah


The Prophet Jonah (Stavrakis)

Prompt: Focus on The Prophet Jonah (Stavrakis) and explain the History.

The materials used were egg tempera paint on a wood panel.  The height is 42.8 cm (16.8 in) and the width is 37 cm (14.5 in).  The painting was taken from the church Agios Spyridon Flampouriaris.  Another painting with the use of similar colored paint was also taken from the same church called The Miracle of Saint Spyridon.  Both paintings were painted with a distinct blue color.  Ioannis Kornaros used blue in his famous painting entitled Great Art Thou (Megas Ei Kyrie).  Blue was rarely used by Cretan Renaissance painters.  Greek artists of the later periods also avoided blue.  The whale is larger in the Sadeler engraving.  The figure of Jonah also takes up more of the engraving than Stavraki's painting.  In Stavraki's painting, a boat is traveling in the middle ground. In the background of the painting, the boat is clearly sinking and a large whale head protrudes from the water.  In the foreground, the story ends with Jonah regurgitated from the whale's mouth.Clearly, the painting animates the landscape with brilliant shades of blue.  The artist imbues change with his advanced knowledge of spatial depth and deeper space.  The work escapes the maniera greca and enforces enhanced three-dimensionality.  The natural figure draws from the Greek mythological God Poseidon (Neptune).  Jonah is a sculpturesque, simple and weighty figure.  The whale is painted in superlative detail.  The artist uses shadows to accentuate dimensionality.

Category:Paintings of the Heptanese school

Category:Works based on the Book of Jonah


The Prophet Jonah (Stavrakis)

Prompt: Explain the History of this artwork, The Prophet Jonah (Stavrakis).

The materials used were egg tempera paint on a wood panel.  The height is 42.8 cm (16.8 in) and the width is 37 cm (14.5 in).  The painting was taken from the church Agios Spyridon Flampouriaris.  Another painting with the use of similar colored paint was also taken from the same church called The Miracle of Saint Spyridon.  Both paintings were painted with a distinct blue color.  Ioannis Kornaros used blue in his famous painting entitled Great Art Thou (Megas Ei Kyrie).  Blue was rarely used by Cretan Renaissance painters.  Greek artists of the later periods also avoided blue.  The whale is larger in the Sadeler engraving.  The figure of Jonah also takes up more of the engraving than Stavraki's painting.  In Stavraki's painting, a boat is traveling in the middle ground. In the background of the painting, the boat is clearly sinking and a large whale head protrudes from the water.  In the foreground, the story ends with Jonah regurgitated from the whale's mouth.Clearly, the painting animates the landscape with brilliant shades of blue.  The artist imbues change with his advanced knowledge of spatial depth and deeper space.  The work escapes the maniera greca and enforces enhanced three-dimensionality.  The natural figure draws from the Greek mythological God Poseidon (Neptune).  Jonah is a sculpturesque, simple and weighty figure.  The whale is painted in superlative detail.  The artist uses shadows to accentuate dimensionality.

Category:Paintings of the Heptanese school

Category:Works based on the Book of Jonah


The Prophet Jonah (Stavrakis)

Prompt: How does The Prophet Jonah (Stavrakis) explain its History?

The materials used were egg tempera paint on a wood panel.  The height is 42.8 cm (16.8 in) and the width is 37 cm (14.5 in).  The painting was taken from the church Agios Spyridon Flampouriaris.  Another painting with the use of similar colored paint was also taken from the same church called The Miracle of Saint Spyridon.  Both paintings were painted with a distinct blue color.  Ioannis Kornaros used blue in his famous painting entitled Great Art Thou (Megas Ei Kyrie).  Blue was rarely used by Cretan Renaissance painters.  Greek artists of the later periods also avoided blue.  The whale is larger in the Sadeler engraving.  The figure of Jonah also takes up more of the engraving than Stavraki's painting.  In Stavraki's painting, a boat is traveling in the middle ground. In the background of the painting, the boat is clearly sinking and a large whale head protrudes from the water.  In the foreground, the story ends with Jonah regurgitated from the whale's mouth.Clearly, the painting animates the landscape with brilliant shades of blue.  The artist imbues change with his advanced knowledge of spatial depth and deeper space.  The work escapes the maniera greca and enforces enhanced three-dimensionality.  The natural figure draws from the Greek mythological God Poseidon (Neptune).  Jonah is a sculpturesque, simple and weighty figure.  The whale is painted in superlative detail.  The artist uses shadows to accentuate dimensionality.

Category:Paintings of the Heptanese school

Category:Works based on the Book of Jonah


The Prophet Jonah (Stavrakis)

Prompt: In The Prophet Jonah (Stavrakis), how is the History discussed?

The materials used were egg tempera paint on a wood panel.  The height is 42.8 cm (16.8 in) and the width is 37 cm (14.5 in).  The painting was taken from the church Agios Spyridon Flampouriaris.  Another painting with the use of similar colored paint was also taken from the same church called The Miracle of Saint Spyridon.  Both paintings were painted with a distinct blue color.  Ioannis Kornaros used blue in his famous painting entitled Great Art Thou (Megas Ei Kyrie).  Blue was rarely used by Cretan Renaissance painters.  Greek artists of the later periods also avoided blue.  The whale is larger in the Sadeler engraving.  The figure of Jonah also takes up more of the engraving than Stavraki's painting.  In Stavraki's painting, a boat is traveling in the middle ground. In the background of the painting, the boat is clearly sinking and a large whale head protrudes from the water.  In the foreground, the story ends with Jonah regurgitated from the whale's mouth.Clearly, the painting animates the landscape with brilliant shades of blue.  The artist imbues change with his advanced knowledge of spatial depth and deeper space.  The work escapes the maniera greca and enforces enhanced three-dimensionality.  The natural figure draws from the Greek mythological God Poseidon (Neptune).  Jonah is a sculpturesque, simple and weighty figure.  The whale is painted in superlative detail.  The artist uses shadows to accentuate dimensionality.

Category:Paintings of the Heptanese school

Category:Works based on the Book of Jonah


Prompt: Focus on Statuette of hoplite (Berlin Antiquities Collection Misc. 7470) and explain the abstract.

The statuette of hoplite found at Dodona (Berlin antiquities collection, Misc. 7470, Antikensammlung der Staatlichen Museen zu Berlin, Misc. 7470) is an archaeological find which was purchased in 1880 and is hosted today in Berlin at the Altes Museum

Category:Ancient Greek bronze statues of the classical period

Category:6th-century BC Greek sculptures

Category:Classical sculptures in the Staatliche Museen zu Berlin

Category:Archaeological discoveries in Epirus (region)


Prompt: Explain the abstract of this artwork, Statuette of hoplite (Berlin Antiquities Collection Misc. 7470).

The statuette of hoplite found at Dodona (Berlin antiquities collection, Misc. 7470, Antikensammlung der Staatlichen Museen zu Berlin, Misc. 7470) is an archaeological find which was purchased in 1880 and is hosted today in Berlin at the Altes Museum

Category:Ancient Greek bronze statues of the classical period

Category:6th-century BC Greek sculptures

Category:Classical sculptures in the Staatliche Museen zu Berlin

Category:Archaeological discoveries in Epirus (region)


Prompt: How does Statuette of hoplite (Berlin Antiquities Collection Misc. 7470) explain its abstract?

The statuette of hoplite found at Dodona (Berlin antiquities collection, Misc. 7470, Antikensammlung der Staatlichen Museen zu Berlin, Misc. 7470) is an archaeological find which was purchased in 1880 and is hosted today in Berlin at the Altes Museum

Category:Ancient Greek bronze statues of the classical period

Category:6th-century BC Greek sculptures

Category:Classical sculptures in the Staatliche Museen zu Berlin

Category:Archaeological discoveries in Epirus (region)


Prompt: In Statuette of hoplite (Berlin Antiquities Collection Misc. 7470), how is the abstract discussed?

The statuette of hoplite found at Dodona (Berlin antiquities collection, Misc. 7470, Antikensammlung der Staatlichen Museen zu Berlin, Misc. 7470) is an archaeological find which was purchased in 1880 and is hosted today in Berlin at the Altes Museum

Category:Ancient Greek bronze statues of the classical period

Category:6th-century BC Greek sculptures

Category:Classical sculptures in the Staatliche Museen zu Berlin

Category:Archaeological discoveries in Epirus (region)


Prompt: Focus on Statuette of hoplite (Berlin Antiquities Collection Misc. 7470) and explain the Description.

On a thin, elongated base stands a hoplite warrior in an offensive stance, armed with helmet, chest armour and greaves. In the left he is holding a Boeotian shield, while with his right he is brandishing a spear. The spear is lost, but the hole in the hand determines the original direction. The whole performance is vibrant and lively. The look of the bearded warrior above the shield is targeting an enemy. The muscles of the body are excellently curved and his posture shows that he is ready for a direct attack. The warrior wears a tunic through the chest resulting in triangled tuck. The rest of the body is naked, and he does not wear sandals. On his right cheek appears a thick tress peeping from inside the helmet, and reaching down to his chest.This bronze, which was a statuette at the edge of a boiler, originating at the late sixth century BC (near 500 BC), shows significant differences from earlier similar statuettes and is characterized as a masterpiece, showing the transformation from the previously used  bound step position to the free striding, characterizing a new generation of sculptors

Category:Ancient Greek bronze statues of the classical period

Category:6th-century BC Greek sculptures

Category:Classical sculptures in the Staatliche Museen zu Berlin

Category:Archaeological discoveries in Epirus (region)


Prompt: Explain the Description of this artwork, Statuette of hoplite (Berlin Antiquities Collection Misc. 7470).

On a thin, elongated base stands a hoplite warrior in an offensive stance, armed with helmet, chest armour and greaves. In the left he is holding a Boeotian shield, while with his right he is brandishing a spear. The spear is lost, but the hole in the hand determines the original direction. The whole performance is vibrant and lively. The look of the bearded warrior above the shield is targeting an enemy. The muscles of the body are excellently curved and his posture shows that he is ready for a direct attack. The warrior wears a tunic through the chest resulting in triangled tuck. The rest of the body is naked, and he does not wear sandals. On his right cheek appears a thick tress peeping from inside the helmet, and reaching down to his chest.This bronze, which was a statuette at the edge of a boiler, originating at the late sixth century BC (near 500 BC), shows significant differences from earlier similar statuettes and is characterized as a masterpiece, showing the transformation from the previously used  bound step position to the free striding, characterizing a new generation of sculptors

Category:Ancient Greek bronze statues of the classical period

Category:6th-century BC Greek sculptures

Category:Classical sculptures in the Staatliche Museen zu Berlin

Category:Archaeological discoveries in Epirus (region)


Prompt: How does Statuette of hoplite (Berlin Antiquities Collection Misc. 7470) explain its Description?

On a thin, elongated base stands a hoplite warrior in an offensive stance, armed with helmet, chest armour and greaves. In the left he is holding a Boeotian shield, while with his right he is brandishing a spear. The spear is lost, but the hole in the hand determines the original direction. The whole performance is vibrant and lively. The look of the bearded warrior above the shield is targeting an enemy. The muscles of the body are excellently curved and his posture shows that he is ready for a direct attack. The warrior wears a tunic through the chest resulting in triangled tuck. The rest of the body is naked, and he does not wear sandals. On his right cheek appears a thick tress peeping from inside the helmet, and reaching down to his chest.This bronze, which was a statuette at the edge of a boiler, originating at the late sixth century BC (near 500 BC), shows significant differences from earlier similar statuettes and is characterized as a masterpiece, showing the transformation from the previously used  bound step position to the free striding, characterizing a new generation of sculptors

Category:Ancient Greek bronze statues of the classical period

Category:6th-century BC Greek sculptures

Category:Classical sculptures in the Staatliche Museen zu Berlin

Category:Archaeological discoveries in Epirus (region)


Prompt: In Statuette of hoplite (Berlin Antiquities Collection Misc. 7470), how is the Description discussed?

On a thin, elongated base stands a hoplite warrior in an offensive stance, armed with helmet, chest armour and greaves. In the left he is holding a Boeotian shield, while with his right he is brandishing a spear. The spear is lost, but the hole in the hand determines the original direction. The whole performance is vibrant and lively. The look of the bearded warrior above the shield is targeting an enemy. The muscles of the body are excellently curved and his posture shows that he is ready for a direct attack. The warrior wears a tunic through the chest resulting in triangled tuck. The rest of the body is naked, and he does not wear sandals. On his right cheek appears a thick tress peeping from inside the helmet, and reaching down to his chest.This bronze, which was a statuette at the edge of a boiler, originating at the late sixth century BC (near 500 BC), shows significant differences from earlier similar statuettes and is characterized as a masterpiece, showing the transformation from the previously used  bound step position to the free striding, characterizing a new generation of sculptors

Category:Ancient Greek bronze statues of the classical period

Category:6th-century BC Greek sculptures

Category:Classical sculptures in the Staatliche Museen zu Berlin

Category:Archaeological discoveries in Epirus (region)


Woman with a Fan (Picasso, 1909)

Prompt: Focus on Woman with a Fan (Picasso, 1909) and explain the abstract.

Woman with a Fan is a 1909 oil on canvas painting by Pablo Picasso. It has been held in the Pushkin Museum in Moscow since 1948. It was owned by collector Sergei Shchukin until being seized by the Russian state after the October Revolution in 1917 and assigned to the State Museum of Modern Western Art.In this painting it can be noticed the influence that African art had on Picasso's works at this time, for example in the dark and sculpted features of the face and in the oval shape of the eyes.

Category:Paintings in the Pushkin Museum


Woman with a Fan (Picasso, 1909)

Prompt: Explain the abstract of this artwork, Woman with a Fan (Picasso, 1909).

Woman with a Fan is a 1909 oil on canvas painting by Pablo Picasso. It has been held in the Pushkin Museum in Moscow since 1948. It was owned by collector Sergei Shchukin until being seized by the Russian state after the October Revolution in 1917 and assigned to the State Museum of Modern Western Art.In this painting it can be noticed the influence that African art had on Picasso's works at this time, for example in the dark and sculpted features of the face and in the oval shape of the eyes.

Category:Paintings in the Pushkin Museum


Woman with a Fan (Picasso, 1909)

Prompt: How does Woman with a Fan (Picasso, 1909) explain its abstract?

Woman with a Fan is a 1909 oil on canvas painting by Pablo Picasso. It has been held in the Pushkin Museum in Moscow since 1948. It was owned by collector Sergei Shchukin until being seized by the Russian state after the October Revolution in 1917 and assigned to the State Museum of Modern Western Art.In this painting it can be noticed the influence that African art had on Picasso's works at this time, for example in the dark and sculpted features of the face and in the oval shape of the eyes.

Category:Paintings in the Pushkin Museum