Music in the Tuileries

Prompt: Focus on Music in the Tuileries and explain the Painting materials.

The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London


Music in the Tuileries

Prompt: Explain the Painting materials of this artwork, Music in the Tuileries.

The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London


Music in the Tuileries

Prompt: How does Music in the Tuileries explain its Painting materials?

The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London


Music in the Tuileries

Prompt: In Music in the Tuileries, how is the Painting materials discussed?

The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London


Music in the Tuileries

Prompt: Focus on Music in the Tuileries and explain the Reception.

Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, "it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London


Music in the Tuileries

Prompt: Explain the Reception of this artwork, Music in the Tuileries.

Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, "it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London


Music in the Tuileries

Prompt: How does Music in the Tuileries explain its Reception?

Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, "it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London


Music in the Tuileries

Prompt: In Music in the Tuileries, how is the Reception discussed?

Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, "it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London


Prompt: Focus on Statue of Benjamin Franklin (Washington, D.C.) and explain the abstract.

The outdoor statue of Benjamin Franklin in Washington, D.C., is located near the intersection of 12th Street and Pennsylvania Avenue, in front of the Old Post Office. The statue was a gift from Stilson Hutchins, founder of The Washington Post, who wanted to display his and the newspaper's stature in the city. The designer, Ernst Plassmann, and sculptor, Jacques Jouvenal, were both German-American artists. The architect of the memorial was J. F. Manning.The statue was unveiled in 1889 after several years of bureaucratic red tape. There was no public celebration at the dedication, due to Hutchins' desire for the event to be small and intimate. The statue was originally sited at the intersection of 10th Street, D Street, and Pennsylvania Avenue NW. During the 1960s and 1970s, a lot of changes were made to Pennsylvania Avenue, including relocating the statue. The site chosen, in front of the Old Post Office, was because Franklin, in addition to being a statesman, diplomat, and a Founding Father, served as the country's first Postmaster General.The statue is one of 14 American Revolution statues in Washington, D.C., that were collectively listed on the National Register of Historic Places (NRHP). The statue is also a contributing property to the Pennsylvania Avenue National Historic Site and the L'Enfant Plan, both listed on the NRHP. The statue is made of Carrara marble and the pedestal is Quincy granite. There are several inscriptions on the statue and pedestal, and a multi-colored brick inlay surrounding it.

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence


Prompt: Explain the abstract of this artwork, Statue of Benjamin Franklin (Washington, D.C.).

The outdoor statue of Benjamin Franklin in Washington, D.C., is located near the intersection of 12th Street and Pennsylvania Avenue, in front of the Old Post Office. The statue was a gift from Stilson Hutchins, founder of The Washington Post, who wanted to display his and the newspaper's stature in the city. The designer, Ernst Plassmann, and sculptor, Jacques Jouvenal, were both German-American artists. The architect of the memorial was J. F. Manning.The statue was unveiled in 1889 after several years of bureaucratic red tape. There was no public celebration at the dedication, due to Hutchins' desire for the event to be small and intimate. The statue was originally sited at the intersection of 10th Street, D Street, and Pennsylvania Avenue NW. During the 1960s and 1970s, a lot of changes were made to Pennsylvania Avenue, including relocating the statue. The site chosen, in front of the Old Post Office, was because Franklin, in addition to being a statesman, diplomat, and a Founding Father, served as the country's first Postmaster General.The statue is one of 14 American Revolution statues in Washington, D.C., that were collectively listed on the National Register of Historic Places (NRHP). The statue is also a contributing property to the Pennsylvania Avenue National Historic Site and the L'Enfant Plan, both listed on the NRHP. The statue is made of Carrara marble and the pedestal is Quincy granite. There are several inscriptions on the statue and pedestal, and a multi-colored brick inlay surrounding it.

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence


Prompt: How does Statue of Benjamin Franklin (Washington, D.C.) explain its abstract?

The outdoor statue of Benjamin Franklin in Washington, D.C., is located near the intersection of 12th Street and Pennsylvania Avenue, in front of the Old Post Office. The statue was a gift from Stilson Hutchins, founder of The Washington Post, who wanted to display his and the newspaper's stature in the city. The designer, Ernst Plassmann, and sculptor, Jacques Jouvenal, were both German-American artists. The architect of the memorial was J. F. Manning.The statue was unveiled in 1889 after several years of bureaucratic red tape. There was no public celebration at the dedication, due to Hutchins' desire for the event to be small and intimate. The statue was originally sited at the intersection of 10th Street, D Street, and Pennsylvania Avenue NW. During the 1960s and 1970s, a lot of changes were made to Pennsylvania Avenue, including relocating the statue. The site chosen, in front of the Old Post Office, was because Franklin, in addition to being a statesman, diplomat, and a Founding Father, served as the country's first Postmaster General.The statue is one of 14 American Revolution statues in Washington, D.C., that were collectively listed on the National Register of Historic Places (NRHP). The statue is also a contributing property to the Pennsylvania Avenue National Historic Site and the L'Enfant Plan, both listed on the NRHP. The statue is made of Carrara marble and the pedestal is Quincy granite. There are several inscriptions on the statue and pedestal, and a multi-colored brick inlay surrounding it.

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence


Prompt: In Statue of Benjamin Franklin (Washington, D.C.), how is the abstract discussed?

The outdoor statue of Benjamin Franklin in Washington, D.C., is located near the intersection of 12th Street and Pennsylvania Avenue, in front of the Old Post Office. The statue was a gift from Stilson Hutchins, founder of The Washington Post, who wanted to display his and the newspaper's stature in the city. The designer, Ernst Plassmann, and sculptor, Jacques Jouvenal, were both German-American artists. The architect of the memorial was J. F. Manning.The statue was unveiled in 1889 after several years of bureaucratic red tape. There was no public celebration at the dedication, due to Hutchins' desire for the event to be small and intimate. The statue was originally sited at the intersection of 10th Street, D Street, and Pennsylvania Avenue NW. During the 1960s and 1970s, a lot of changes were made to Pennsylvania Avenue, including relocating the statue. The site chosen, in front of the Old Post Office, was because Franklin, in addition to being a statesman, diplomat, and a Founding Father, served as the country's first Postmaster General.The statue is one of 14 American Revolution statues in Washington, D.C., that were collectively listed on the National Register of Historic Places (NRHP). The statue is also a contributing property to the Pennsylvania Avenue National Historic Site and the L'Enfant Plan, both listed on the NRHP. The statue is made of Carrara marble and the pedestal is Quincy granite. There are several inscriptions on the statue and pedestal, and a multi-colored brick inlay surrounding it.

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence


Prompt: Focus on Statue of Benjamin Franklin (Washington, D.C.) and explain the Location and design.

The statue of Benjamin Franklin is located in front of the Old Post Office at the intersection of 12th Street and Pennsylvania Avenue NW in Washington, D.C. It was originally sited two blocks east across the street from The Washington Post offices, but was moved to its present location in 1980, based on the design plan of the city's Pennsylvania Development Corporation. The statue is made of Carrara marble and is approximately 8-feet tall (2.4 m). The base is Quincy granite and measures 5.5 feet wide (1.7 m). The pedestal and statue are on a raised platform made of granite. When the statue was moved in 1982, Aleksandra Kasuba was chosen to design the platform. In addition to the platform, she designed a multicolor granite and brick pavement surrounding the statue that was meant to recall the Old Post Office interior. The base and platform measures 11-feet tall (3.4 m).The full-length statue of Franklin depicts him as a diplomat in the court of Louis XVI when the U.S. signed its first treaty with a foreign power. His right arm is raised and he's holding papers or diplomatic documents with his left hand. Behind his right foot are three books, two closed and one open.Just under the statue is the inscription:FRANKLINBelow that, each side of the base is inscribed with one word describing Franklin:PRINTERPHILANTHROPISTPATRIOTPHILOSOPHER.On the second level of the base is inscribed:PRESENTED TO THE NATIONAL CAPITAL/ BY /STILSON HUTCHINS.A bronze plaque is on the third level of the base. Its inscription is:ERECTED JANUARY 17TH, 1889ERNST PLASSMAN, DESIGNERJACQUES JOUVENAL, SCULPTORJ. F. MANNING, DESIGNER OF PEDESTALCOMMISSIONERS OF DISTRICT OF COLUMBIAW. B. WEBB, S .E. WHEATLEY, C. W. RAYMOND

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence

Pennsylvania Avenue National Historic Site


Prompt: Explain the Location and design of this artwork, Statue of Benjamin Franklin (Washington, D.C.).

The statue of Benjamin Franklin is located in front of the Old Post Office at the intersection of 12th Street and Pennsylvania Avenue NW in Washington, D.C. It was originally sited two blocks east across the street from The Washington Post offices, but was moved to its present location in 1980, based on the design plan of the city's Pennsylvania Development Corporation. The statue is made of Carrara marble and is approximately 8-feet tall (2.4 m). The base is Quincy granite and measures 5.5 feet wide (1.7 m). The pedestal and statue are on a raised platform made of granite. When the statue was moved in 1982, Aleksandra Kasuba was chosen to design the platform. In addition to the platform, she designed a multicolor granite and brick pavement surrounding the statue that was meant to recall the Old Post Office interior. The base and platform measures 11-feet tall (3.4 m).The full-length statue of Franklin depicts him as a diplomat in the court of Louis XVI when the U.S. signed its first treaty with a foreign power. His right arm is raised and he's holding papers or diplomatic documents with his left hand. Behind his right foot are three books, two closed and one open.Just under the statue is the inscription:FRANKLINBelow that, each side of the base is inscribed with one word describing Franklin:PRINTERPHILANTHROPISTPATRIOTPHILOSOPHER.On the second level of the base is inscribed:PRESENTED TO THE NATIONAL CAPITAL/ BY /STILSON HUTCHINS.A bronze plaque is on the third level of the base. Its inscription is:ERECTED JANUARY 17TH, 1889ERNST PLASSMAN, DESIGNERJACQUES JOUVENAL, SCULPTORJ. F. MANNING, DESIGNER OF PEDESTALCOMMISSIONERS OF DISTRICT OF COLUMBIAW. B. WEBB, S .E. WHEATLEY, C. W. RAYMOND

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence

Pennsylvania Avenue National Historic Site


Prompt: How does Statue of Benjamin Franklin (Washington, D.C.) explain its Location and design?

The statue of Benjamin Franklin is located in front of the Old Post Office at the intersection of 12th Street and Pennsylvania Avenue NW in Washington, D.C. It was originally sited two blocks east across the street from The Washington Post offices, but was moved to its present location in 1980, based on the design plan of the city's Pennsylvania Development Corporation. The statue is made of Carrara marble and is approximately 8-feet tall (2.4 m). The base is Quincy granite and measures 5.5 feet wide (1.7 m). The pedestal and statue are on a raised platform made of granite. When the statue was moved in 1982, Aleksandra Kasuba was chosen to design the platform. In addition to the platform, she designed a multicolor granite and brick pavement surrounding the statue that was meant to recall the Old Post Office interior. The base and platform measures 11-feet tall (3.4 m).The full-length statue of Franklin depicts him as a diplomat in the court of Louis XVI when the U.S. signed its first treaty with a foreign power. His right arm is raised and he's holding papers or diplomatic documents with his left hand. Behind his right foot are three books, two closed and one open.Just under the statue is the inscription:FRANKLINBelow that, each side of the base is inscribed with one word describing Franklin:PRINTERPHILANTHROPISTPATRIOTPHILOSOPHER.On the second level of the base is inscribed:PRESENTED TO THE NATIONAL CAPITAL/ BY /STILSON HUTCHINS.A bronze plaque is on the third level of the base. Its inscription is:ERECTED JANUARY 17TH, 1889ERNST PLASSMAN, DESIGNERJACQUES JOUVENAL, SCULPTORJ. F. MANNING, DESIGNER OF PEDESTALCOMMISSIONERS OF DISTRICT OF COLUMBIAW. B. WEBB, S .E. WHEATLEY, C. W. RAYMOND

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence

Pennsylvania Avenue National Historic Site


Prompt: In Statue of Benjamin Franklin (Washington, D.C.), how is the Location and design discussed?

The statue of Benjamin Franklin is located in front of the Old Post Office at the intersection of 12th Street and Pennsylvania Avenue NW in Washington, D.C. It was originally sited two blocks east across the street from The Washington Post offices, but was moved to its present location in 1980, based on the design plan of the city's Pennsylvania Development Corporation. The statue is made of Carrara marble and is approximately 8-feet tall (2.4 m). The base is Quincy granite and measures 5.5 feet wide (1.7 m). The pedestal and statue are on a raised platform made of granite. When the statue was moved in 1982, Aleksandra Kasuba was chosen to design the platform. In addition to the platform, she designed a multicolor granite and brick pavement surrounding the statue that was meant to recall the Old Post Office interior. The base and platform measures 11-feet tall (3.4 m).The full-length statue of Franklin depicts him as a diplomat in the court of Louis XVI when the U.S. signed its first treaty with a foreign power. His right arm is raised and he's holding papers or diplomatic documents with his left hand. Behind his right foot are three books, two closed and one open.Just under the statue is the inscription:FRANKLINBelow that, each side of the base is inscribed with one word describing Franklin:PRINTERPHILANTHROPISTPATRIOTPHILOSOPHER.On the second level of the base is inscribed:PRESENTED TO THE NATIONAL CAPITAL/ BY /STILSON HUTCHINS.A bronze plaque is on the third level of the base. Its inscription is:ERECTED JANUARY 17TH, 1889ERNST PLASSMAN, DESIGNERJACQUES JOUVENAL, SCULPTORJ. F. MANNING, DESIGNER OF PEDESTALCOMMISSIONERS OF DISTRICT OF COLUMBIAW. B. WEBB, S .E. WHEATLEY, C. W. RAYMOND

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence

Pennsylvania Avenue National Historic Site


Prompt: In the context of Statue of Benjamin Franklin (Washington, D.C.), explain the Production and installation and the History.

Benjamin Franklin, one of the Founding Fathers and a signer of the Declaration of Independence, was a well-known intellectual, scientist, statesman, author, and diplomat in 18th-century America. Around 100 years after Franklin's birth, Stilson Hutchins, founder of The Washington Post, aimed to make the surrounding area of his newspaper's building a prime example of his contributions and stature to the city. One of his contributions was to erect a statue honoring Franklin in a small lot at 10th Street, D Street, and Pennsylvania Avenue NW, directly across from The Post building. It took several years before the statue came to fruition. After an Act of Congress was approved on July 19, 1888, local government officials were to find a location for the statue. Since Stilson was paying for the statue, officials chose the lot near his newspaper's building. Ernst Plassmann was a German-American sculptor who designed the statue of Franklin, partially based on earlier works he had made. The sculptor chosen for the piece, Jacques Jouvenal, was also born in Germany and lived in Washington, D.C., from 1855 until his death in 1905. Jouvenal had operated a statuary workshop at 941 D Street NW, the site where The Post building would be located years later, and the current site of the J. Edgar Hoover Building.By the time the statue was finally installed, Hutchins had retired and dedicated the piece to Washington, D.C., as a symbol of good will from U.S. newspaper publishers. The dedication ceremony took place at 10:00 am on January 17, 1889, Franklin's birthday. The unveiling was done by Franklin's great-granddaughter, Mrs. H. W. Emory. In an article covering the event, The Post wrote "[t]he statue was uncovered without ostentation or parade. Mr. Hutchins having declined a great many suggestions to make what he styles a 'fuss' over it."

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence

Pennsylvania Avenue National Historic Site


Prompt: Explain the Production and installation about the History of this artwork, Statue of Benjamin Franklin (Washington, D.C.).

Benjamin Franklin, one of the Founding Fathers and a signer of the Declaration of Independence, was a well-known intellectual, scientist, statesman, author, and diplomat in 18th-century America. Around 100 years after Franklin's birth, Stilson Hutchins, founder of The Washington Post, aimed to make the surrounding area of his newspaper's building a prime example of his contributions and stature to the city. One of his contributions was to erect a statue honoring Franklin in a small lot at 10th Street, D Street, and Pennsylvania Avenue NW, directly across from The Post building. It took several years before the statue came to fruition. After an Act of Congress was approved on July 19, 1888, local government officials were to find a location for the statue. Since Stilson was paying for the statue, officials chose the lot near his newspaper's building. Ernst Plassmann was a German-American sculptor who designed the statue of Franklin, partially based on earlier works he had made. The sculptor chosen for the piece, Jacques Jouvenal, was also born in Germany and lived in Washington, D.C., from 1855 until his death in 1905. Jouvenal had operated a statuary workshop at 941 D Street NW, the site where The Post building would be located years later, and the current site of the J. Edgar Hoover Building.By the time the statue was finally installed, Hutchins had retired and dedicated the piece to Washington, D.C., as a symbol of good will from U.S. newspaper publishers. The dedication ceremony took place at 10:00 am on January 17, 1889, Franklin's birthday. The unveiling was done by Franklin's great-granddaughter, Mrs. H. W. Emory. In an article covering the event, The Post wrote "[t]he statue was uncovered without ostentation or parade. Mr. Hutchins having declined a great many suggestions to make what he styles a 'fuss' over it."

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence

Pennsylvania Avenue National Historic Site


Prompt: In Statue of Benjamin Franklin (Washington, D.C.), how is the Production and installation of the History explained?

Benjamin Franklin, one of the Founding Fathers and a signer of the Declaration of Independence, was a well-known intellectual, scientist, statesman, author, and diplomat in 18th-century America. Around 100 years after Franklin's birth, Stilson Hutchins, founder of The Washington Post, aimed to make the surrounding area of his newspaper's building a prime example of his contributions and stature to the city. One of his contributions was to erect a statue honoring Franklin in a small lot at 10th Street, D Street, and Pennsylvania Avenue NW, directly across from The Post building. It took several years before the statue came to fruition. After an Act of Congress was approved on July 19, 1888, local government officials were to find a location for the statue. Since Stilson was paying for the statue, officials chose the lot near his newspaper's building. Ernst Plassmann was a German-American sculptor who designed the statue of Franklin, partially based on earlier works he had made. The sculptor chosen for the piece, Jacques Jouvenal, was also born in Germany and lived in Washington, D.C., from 1855 until his death in 1905. Jouvenal had operated a statuary workshop at 941 D Street NW, the site where The Post building would be located years later, and the current site of the J. Edgar Hoover Building.By the time the statue was finally installed, Hutchins had retired and dedicated the piece to Washington, D.C., as a symbol of good will from U.S. newspaper publishers. The dedication ceremony took place at 10:00 am on January 17, 1889, Franklin's birthday. The unveiling was done by Franklin's great-granddaughter, Mrs. H. W. Emory. In an article covering the event, The Post wrote "[t]he statue was uncovered without ostentation or parade. Mr. Hutchins having declined a great many suggestions to make what he styles a 'fuss' over it."

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence

Pennsylvania Avenue National Historic Site


Prompt: Describe the characteristics of the Production and installation in Statue of Benjamin Franklin (Washington, D.C.)'s History.

Benjamin Franklin, one of the Founding Fathers and a signer of the Declaration of Independence, was a well-known intellectual, scientist, statesman, author, and diplomat in 18th-century America. Around 100 years after Franklin's birth, Stilson Hutchins, founder of The Washington Post, aimed to make the surrounding area of his newspaper's building a prime example of his contributions and stature to the city. One of his contributions was to erect a statue honoring Franklin in a small lot at 10th Street, D Street, and Pennsylvania Avenue NW, directly across from The Post building. It took several years before the statue came to fruition. After an Act of Congress was approved on July 19, 1888, local government officials were to find a location for the statue. Since Stilson was paying for the statue, officials chose the lot near his newspaper's building. Ernst Plassmann was a German-American sculptor who designed the statue of Franklin, partially based on earlier works he had made. The sculptor chosen for the piece, Jacques Jouvenal, was also born in Germany and lived in Washington, D.C., from 1855 until his death in 1905. Jouvenal had operated a statuary workshop at 941 D Street NW, the site where The Post building would be located years later, and the current site of the J. Edgar Hoover Building.By the time the statue was finally installed, Hutchins had retired and dedicated the piece to Washington, D.C., as a symbol of good will from U.S. newspaper publishers. The dedication ceremony took place at 10:00 am on January 17, 1889, Franklin's birthday. The unveiling was done by Franklin's great-granddaughter, Mrs. H. W. Emory. In an article covering the event, The Post wrote "[t]he statue was uncovered without ostentation or parade. Mr. Hutchins having declined a great many suggestions to make what he styles a 'fuss' over it."

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence

Pennsylvania Avenue National Historic Site


Prompt: In the context of Statue of Benjamin Franklin (Washington, D.C.), explain the Later history and the History.

In 1893, The Post moved its headquarters, but the statue remained in the same place. Several years later the local government created a triangular plaza where the statue is located in order for traffic to run more smoothly. A new bank that opened across from the statue in 1914 was named Franklin National Bank due to the statue facing its building. The statue became a meeting spot for various groups in the early 20-century. The Salvation Army would use the location to proselytize, suffragists met there in 1915, and it was also a meeting place for disarmament activists following World War I. On Franklin's birthday, it wasn't uncommon for people to lay wreaths in front of the statue.Over time, the statue became dirty and was in serious need of cleaning. Because most statues in public spaces in Washington, D.C., are located on federal property, it's the government's responsibility to maintain these memorials. Since the Franklin statue had been a gift to the city, it was left to the local government to carry out this task. Local officials said they had neither the funds nor reasoning to pay for the statue's upkeep. During the 1960s and 1970s, federal official and the Pennsylvania Avenue Development Corporation made plans and carried out massive changes to the portion of Pennsylvania Avenue between the United States Capitol and the White House. In 1974, a portion of D Street was closed and made into a public space. This necessitated the moving of Franklin's statue. The new spot chosen for the statue was in front of the Old Post Office, due to Franklin being America's first Postmaster General. The relocation took place in late 1980.The statue of Franklin is one of 14 American Revolution statues that were collectively listed on the National Register of Historic Places (NRHP) on July 14, 1978. The following year the statues were added to the District of Columbia Inventory of Historic Sites. In addition, the Franklin statue is a contributing property to the Pennsylvania Avenue National Historic Site, listed on the NRHP on October 15, 1966, and the L'Enfant Plan, listed on April 24, 1997.

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence


Prompt: Explain the Later history about the History of this artwork, Statue of Benjamin Franklin (Washington, D.C.).

In 1893, The Post moved its headquarters, but the statue remained in the same place. Several years later the local government created a triangular plaza where the statue is located in order for traffic to run more smoothly. A new bank that opened across from the statue in 1914 was named Franklin National Bank due to the statue facing its building. The statue became a meeting spot for various groups in the early 20-century. The Salvation Army would use the location to proselytize, suffragists met there in 1915, and it was also a meeting place for disarmament activists following World War I. On Franklin's birthday, it wasn't uncommon for people to lay wreaths in front of the statue.Over time, the statue became dirty and was in serious need of cleaning. Because most statues in public spaces in Washington, D.C., are located on federal property, it's the government's responsibility to maintain these memorials. Since the Franklin statue had been a gift to the city, it was left to the local government to carry out this task. Local officials said they had neither the funds nor reasoning to pay for the statue's upkeep. During the 1960s and 1970s, federal official and the Pennsylvania Avenue Development Corporation made plans and carried out massive changes to the portion of Pennsylvania Avenue between the United States Capitol and the White House. In 1974, a portion of D Street was closed and made into a public space. This necessitated the moving of Franklin's statue. The new spot chosen for the statue was in front of the Old Post Office, due to Franklin being America's first Postmaster General. The relocation took place in late 1980.The statue of Franklin is one of 14 American Revolution statues that were collectively listed on the National Register of Historic Places (NRHP) on July 14, 1978. The following year the statues were added to the District of Columbia Inventory of Historic Sites. In addition, the Franklin statue is a contributing property to the Pennsylvania Avenue National Historic Site, listed on the NRHP on October 15, 1966, and the L'Enfant Plan, listed on April 24, 1997.

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence


Prompt: In Statue of Benjamin Franklin (Washington, D.C.), how is the Later history of the History explained?

In 1893, The Post moved its headquarters, but the statue remained in the same place. Several years later the local government created a triangular plaza where the statue is located in order for traffic to run more smoothly. A new bank that opened across from the statue in 1914 was named Franklin National Bank due to the statue facing its building. The statue became a meeting spot for various groups in the early 20-century. The Salvation Army would use the location to proselytize, suffragists met there in 1915, and it was also a meeting place for disarmament activists following World War I. On Franklin's birthday, it wasn't uncommon for people to lay wreaths in front of the statue.Over time, the statue became dirty and was in serious need of cleaning. Because most statues in public spaces in Washington, D.C., are located on federal property, it's the government's responsibility to maintain these memorials. Since the Franklin statue had been a gift to the city, it was left to the local government to carry out this task. Local officials said they had neither the funds nor reasoning to pay for the statue's upkeep. During the 1960s and 1970s, federal official and the Pennsylvania Avenue Development Corporation made plans and carried out massive changes to the portion of Pennsylvania Avenue between the United States Capitol and the White House. In 1974, a portion of D Street was closed and made into a public space. This necessitated the moving of Franklin's statue. The new spot chosen for the statue was in front of the Old Post Office, due to Franklin being America's first Postmaster General. The relocation took place in late 1980.The statue of Franklin is one of 14 American Revolution statues that were collectively listed on the National Register of Historic Places (NRHP) on July 14, 1978. The following year the statues were added to the District of Columbia Inventory of Historic Sites. In addition, the Franklin statue is a contributing property to the Pennsylvania Avenue National Historic Site, listed on the NRHP on October 15, 1966, and the L'Enfant Plan, listed on April 24, 1997.

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence


Prompt: Describe the characteristics of the Later history in Statue of Benjamin Franklin (Washington, D.C.)'s History.

In 1893, The Post moved its headquarters, but the statue remained in the same place. Several years later the local government created a triangular plaza where the statue is located in order for traffic to run more smoothly. A new bank that opened across from the statue in 1914 was named Franklin National Bank due to the statue facing its building. The statue became a meeting spot for various groups in the early 20-century. The Salvation Army would use the location to proselytize, suffragists met there in 1915, and it was also a meeting place for disarmament activists following World War I. On Franklin's birthday, it wasn't uncommon for people to lay wreaths in front of the statue.Over time, the statue became dirty and was in serious need of cleaning. Because most statues in public spaces in Washington, D.C., are located on federal property, it's the government's responsibility to maintain these memorials. Since the Franklin statue had been a gift to the city, it was left to the local government to carry out this task. Local officials said they had neither the funds nor reasoning to pay for the statue's upkeep. During the 1960s and 1970s, federal official and the Pennsylvania Avenue Development Corporation made plans and carried out massive changes to the portion of Pennsylvania Avenue between the United States Capitol and the White House. In 1974, a portion of D Street was closed and made into a public space. This necessitated the moving of Franklin's statue. The new spot chosen for the statue was in front of the Old Post Office, due to Franklin being America's first Postmaster General. The relocation took place in late 1980.The statue of Franklin is one of 14 American Revolution statues that were collectively listed on the National Register of Historic Places (NRHP) on July 14, 1978. The following year the statues were added to the District of Columbia Inventory of Historic Sites. In addition, the Franklin statue is a contributing property to the Pennsylvania Avenue National Historic Site, listed on the NRHP on October 15, 1966, and the L'Enfant Plan, listed on April 24, 1997.

National Register of Historic Places in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

Category:Marble sculptures in Washington, D.C.

Category:1889 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 6

National Register of Historic Places listings in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Relocated buildings and structures in Washington, D.C.

Category:District of Columbia Inventory of Historic Sites

United States Declaration of Independence


America (Cattelan)

Prompt: Focus on America (Cattelan) and explain the abstract.

America is a sculpture created in 2016 by the Italian artist Maurizio Cattelan. An example of satirical participatory art, it is a fully functioning toilet made of 18-karat solid gold. It was stolen in 2019 from Blenheim Palace, where it was exhibited on loan from the permanent collection of the Solomon R. Guggenheim Museum.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: Explain the abstract of this artwork, America (Cattelan).

America is a sculpture created in 2016 by the Italian artist Maurizio Cattelan. An example of satirical participatory art, it is a fully functioning toilet made of 18-karat solid gold. It was stolen in 2019 from Blenheim Palace, where it was exhibited on loan from the permanent collection of the Solomon R. Guggenheim Museum.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: How does America (Cattelan) explain its abstract?

America is a sculpture created in 2016 by the Italian artist Maurizio Cattelan. An example of satirical participatory art, it is a fully functioning toilet made of 18-karat solid gold. It was stolen in 2019 from Blenheim Palace, where it was exhibited on loan from the permanent collection of the Solomon R. Guggenheim Museum.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: In America (Cattelan), how is the abstract discussed?

America is a sculpture created in 2016 by the Italian artist Maurizio Cattelan. An example of satirical participatory art, it is a fully functioning toilet made of 18-karat solid gold. It was stolen in 2019 from Blenheim Palace, where it was exhibited on loan from the permanent collection of the Solomon R. Guggenheim Museum.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: In the context of America (Cattelan), explain the Solomon R. Guggenheim Museum and the Exhibitions.

Cattelan created the toilet in 2016 for the Solomon R. Guggenheim Museum in New York City. It was made in a foundry in Florence, cast in several parts that were welded together.  Made to look like the museum's other Kohler toilets, it was installed in one of the museum's bathrooms for visitors to use. A special cleaning routine was put in place. The museum stated that the work was paid for with private funds.According to the museum, over 100,000 people waited in line to use America, and a security guard was posted outside the bathroom. According to Cattelan, the work was made of 103 kilograms (227 lb) of gold, which in September 2019 was valued at more than four million dollars as bullion. As an artwork, it has been estimated as high as six million.In September 2017, when the museum declined a White House request to loan its 1888 Van Gogh painting Landscape with Snow for then President Donald Trump's private rooms, curator Nancy Spector offered to loan America instead. Any reply by the White House was not reported.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: Explain the Solomon R. Guggenheim Museum about the Exhibitions of this artwork, America (Cattelan).

Cattelan created the toilet in 2016 for the Solomon R. Guggenheim Museum in New York City. It was made in a foundry in Florence, cast in several parts that were welded together.  Made to look like the museum's other Kohler toilets, it was installed in one of the museum's bathrooms for visitors to use. A special cleaning routine was put in place. The museum stated that the work was paid for with private funds.According to the museum, over 100,000 people waited in line to use America, and a security guard was posted outside the bathroom. According to Cattelan, the work was made of 103 kilograms (227 lb) of gold, which in September 2019 was valued at more than four million dollars as bullion. As an artwork, it has been estimated as high as six million.In September 2017, when the museum declined a White House request to loan its 1888 Van Gogh painting Landscape with Snow for then President Donald Trump's private rooms, curator Nancy Spector offered to loan America instead. Any reply by the White House was not reported.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: In America (Cattelan), how is the Solomon R. Guggenheim Museum of the Exhibitions explained?

Cattelan created the toilet in 2016 for the Solomon R. Guggenheim Museum in New York City. It was made in a foundry in Florence, cast in several parts that were welded together.  Made to look like the museum's other Kohler toilets, it was installed in one of the museum's bathrooms for visitors to use. A special cleaning routine was put in place. The museum stated that the work was paid for with private funds.According to the museum, over 100,000 people waited in line to use America, and a security guard was posted outside the bathroom. According to Cattelan, the work was made of 103 kilograms (227 lb) of gold, which in September 2019 was valued at more than four million dollars as bullion. As an artwork, it has been estimated as high as six million.In September 2017, when the museum declined a White House request to loan its 1888 Van Gogh painting Landscape with Snow for then President Donald Trump's private rooms, curator Nancy Spector offered to loan America instead. Any reply by the White House was not reported.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: Describe the characteristics of the Solomon R. Guggenheim Museum in America (Cattelan)'s Exhibitions.

Cattelan created the toilet in 2016 for the Solomon R. Guggenheim Museum in New York City. It was made in a foundry in Florence, cast in several parts that were welded together.  Made to look like the museum's other Kohler toilets, it was installed in one of the museum's bathrooms for visitors to use. A special cleaning routine was put in place. The museum stated that the work was paid for with private funds.According to the museum, over 100,000 people waited in line to use America, and a security guard was posted outside the bathroom. According to Cattelan, the work was made of 103 kilograms (227 lb) of gold, which in September 2019 was valued at more than four million dollars as bullion. As an artwork, it has been estimated as high as six million.In September 2017, when the museum declined a White House request to loan its 1888 Van Gogh painting Landscape with Snow for then President Donald Trump's private rooms, curator Nancy Spector offered to loan America instead. Any reply by the White House was not reported.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: In the context of America (Cattelan), explain the Blenheim Palace and the Exhibitions.

In September 2019, America was installed at Blenheim Palace in the United Kingdom, where it was available for use as part of an exhibition of Cattelan's works. It was placed in a water closet formerly used by Winston Churchill.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: Explain the Blenheim Palace about the Exhibitions of this artwork, America (Cattelan).

In September 2019, America was installed at Blenheim Palace in the United Kingdom, where it was available for use as part of an exhibition of Cattelan's works. It was placed in a water closet formerly used by Winston Churchill.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: In America (Cattelan), how is the Blenheim Palace of the Exhibitions explained?

In September 2019, America was installed at Blenheim Palace in the United Kingdom, where it was available for use as part of an exhibition of Cattelan's works. It was placed in a water closet formerly used by Winston Churchill.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: Describe the characteristics of the Blenheim Palace in America (Cattelan)'s Exhibitions.

In September 2019, America was installed at Blenheim Palace in the United Kingdom, where it was available for use as part of an exhibition of Cattelan's works. It was placed in a water closet formerly used by Winston Churchill.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: Focus on America (Cattelan) and explain the Theft.

On 14 September 2019, the sculpture was stolen from Blenheim Palace. A representative of the palace previously said that because America was plumbed in, and potential thieves would be aware of its use, security was not much of an issue. Because it had been connected to the building's water pipes, the theft caused structural damage and flooding to the World Heritage Site. Two men were arrested and released in connection with the incident. Cattelan commented: "I always liked heist movies and finally I'm in one of them."Blenheim's insurance company has stated that up to approximately $124,000 can be paid in reward for the return of the toilet. In mid-October, three new arrests were made in connection to the theft. As of August 2023, the total number of arrests was six, all of whom have been released without charge. In November 2023, the Crown Prosecution Service charged four men  with the theft of the toilet. The men have pleaded not guilty and a trial is scheduled for February 2025.Speculation about the fate of the toilet includes it being melted down, that it has been hidden fairly close to Blenheim and that the theft is a prank by Cattelan. Local imitations of the work have been made, including one that was itself stolen.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: Explain the Theft of this artwork, America (Cattelan).

On 14 September 2019, the sculpture was stolen from Blenheim Palace. A representative of the palace previously said that because America was plumbed in, and potential thieves would be aware of its use, security was not much of an issue. Because it had been connected to the building's water pipes, the theft caused structural damage and flooding to the World Heritage Site. Two men were arrested and released in connection with the incident. Cattelan commented: "I always liked heist movies and finally I'm in one of them."Blenheim's insurance company has stated that up to approximately $124,000 can be paid in reward for the return of the toilet. In mid-October, three new arrests were made in connection to the theft. As of August 2023, the total number of arrests was six, all of whom have been released without charge. In November 2023, the Crown Prosecution Service charged four men  with the theft of the toilet. The men have pleaded not guilty and a trial is scheduled for February 2025.Speculation about the fate of the toilet includes it being melted down, that it has been hidden fairly close to Blenheim and that the theft is a prank by Cattelan. Local imitations of the work have been made, including one that was itself stolen.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: How does America (Cattelan) explain its Theft?

On 14 September 2019, the sculpture was stolen from Blenheim Palace. A representative of the palace previously said that because America was plumbed in, and potential thieves would be aware of its use, security was not much of an issue. Because it had been connected to the building's water pipes, the theft caused structural damage and flooding to the World Heritage Site. Two men were arrested and released in connection with the incident. Cattelan commented: "I always liked heist movies and finally I'm in one of them."Blenheim's insurance company has stated that up to approximately $124,000 can be paid in reward for the return of the toilet. In mid-October, three new arrests were made in connection to the theft. As of August 2023, the total number of arrests was six, all of whom have been released without charge. In November 2023, the Crown Prosecution Service charged four men  with the theft of the toilet. The men have pleaded not guilty and a trial is scheduled for February 2025.Speculation about the fate of the toilet includes it being melted down, that it has been hidden fairly close to Blenheim and that the theft is a prank by Cattelan. Local imitations of the work have been made, including one that was itself stolen.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: In America (Cattelan), how is the Theft discussed?

On 14 September 2019, the sculpture was stolen from Blenheim Palace. A representative of the palace previously said that because America was plumbed in, and potential thieves would be aware of its use, security was not much of an issue. Because it had been connected to the building's water pipes, the theft caused structural damage and flooding to the World Heritage Site. Two men were arrested and released in connection with the incident. Cattelan commented: "I always liked heist movies and finally I'm in one of them."Blenheim's insurance company has stated that up to approximately $124,000 can be paid in reward for the return of the toilet. In mid-October, three new arrests were made in connection to the theft. As of August 2023, the total number of arrests was six, all of whom have been released without charge. In November 2023, the Crown Prosecution Service charged four men  with the theft of the toilet. The men have pleaded not guilty and a trial is scheduled for February 2025.Speculation about the fate of the toilet includes it being melted down, that it has been hidden fairly close to Blenheim and that the theft is a prank by Cattelan. Local imitations of the work have been made, including one that was itself stolen.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: Focus on America (Cattelan) and explain the Interpretation.

The Guggenheim museum linked the meaning of the sculpture to the career of Donald Trump, writing in September 2016 that "the aesthetics of this 'throne' recall nothing so much as the gilded excess of Trump's real-estate ventures and private residences". Cattelan himself declined to give an interpretation of his work, which he conceived of before Trump's presidential candidacy. He said that the connection to Trump is "another layer, but it shouldn’t be the only one."The work has also been described as an interpretation of Marcel Duchamp's 1917 sculpture Fountain. Art critic Calvin Tomkins called it Cattelan's most beautiful artwork, and said "for viewers who crave a one-to-one relationship with art, this piece cannot be topped." Art critic Jonathan Jones, using the work at Blenheim Palace, opined that it felt "Much like peeing on porcelain. But here, among all the photos of young Winston, it also feels like pissing on British history." He also found the sculpture reminiscent of then prime minister Boris Johnson's hair.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: Explain the Interpretation of this artwork, America (Cattelan).

The Guggenheim museum linked the meaning of the sculpture to the career of Donald Trump, writing in September 2016 that "the aesthetics of this 'throne' recall nothing so much as the gilded excess of Trump's real-estate ventures and private residences". Cattelan himself declined to give an interpretation of his work, which he conceived of before Trump's presidential candidacy. He said that the connection to Trump is "another layer, but it shouldn’t be the only one."The work has also been described as an interpretation of Marcel Duchamp's 1917 sculpture Fountain. Art critic Calvin Tomkins called it Cattelan's most beautiful artwork, and said "for viewers who crave a one-to-one relationship with art, this piece cannot be topped." Art critic Jonathan Jones, using the work at Blenheim Palace, opined that it felt "Much like peeing on porcelain. But here, among all the photos of young Winston, it also feels like pissing on British history." He also found the sculpture reminiscent of then prime minister Boris Johnson's hair.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: How does America (Cattelan) explain its Interpretation?

The Guggenheim museum linked the meaning of the sculpture to the career of Donald Trump, writing in September 2016 that "the aesthetics of this 'throne' recall nothing so much as the gilded excess of Trump's real-estate ventures and private residences". Cattelan himself declined to give an interpretation of his work, which he conceived of before Trump's presidential candidacy. He said that the connection to Trump is "another layer, but it shouldn’t be the only one."The work has also been described as an interpretation of Marcel Duchamp's 1917 sculpture Fountain. Art critic Calvin Tomkins called it Cattelan's most beautiful artwork, and said "for viewers who crave a one-to-one relationship with art, this piece cannot be topped." Art critic Jonathan Jones, using the work at Blenheim Palace, opined that it felt "Much like peeing on porcelain. But here, among all the photos of young Winston, it also feels like pissing on British history." He also found the sculpture reminiscent of then prime minister Boris Johnson's hair.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: In America (Cattelan), how is the Interpretation discussed?

The Guggenheim museum linked the meaning of the sculpture to the career of Donald Trump, writing in September 2016 that "the aesthetics of this 'throne' recall nothing so much as the gilded excess of Trump's real-estate ventures and private residences". Cattelan himself declined to give an interpretation of his work, which he conceived of before Trump's presidential candidacy. He said that the connection to Trump is "another layer, but it shouldn’t be the only one."The work has also been described as an interpretation of Marcel Duchamp's 1917 sculpture Fountain. Art critic Calvin Tomkins called it Cattelan's most beautiful artwork, and said "for viewers who crave a one-to-one relationship with art, this piece cannot be topped." Art critic Jonathan Jones, using the work at Blenheim Palace, opined that it felt "Much like peeing on porcelain. But here, among all the photos of young Winston, it also feels like pissing on British history." He also found the sculpture reminiscent of then prime minister Boris Johnson's hair.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: Focus on America (Cattelan) and explain the Other gold toilets.

In 2002 Winger Lam Sai-wing, a Hong Kong businessman, included two gold toilets in what he called a shrine to Lenin. He referred to a comment by Lenin about the use of gold after the victory of socialism.In 2019 the Hong Kong jewellery firm Coronet displayed a gold toilet in Shanghai. This toilet had a bulletproof seat containing  more than 40,000 small diamonds.Cattelan said that he made three gold toilets.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: Explain the Other gold toilets of this artwork, America (Cattelan).

In 2002 Winger Lam Sai-wing, a Hong Kong businessman, included two gold toilets in what he called a shrine to Lenin. He referred to a comment by Lenin about the use of gold after the victory of socialism.In 2019 the Hong Kong jewellery firm Coronet displayed a gold toilet in Shanghai. This toilet had a bulletproof seat containing  more than 40,000 small diamonds.Cattelan said that he made three gold toilets.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: How does America (Cattelan) explain its Other gold toilets?

In 2002 Winger Lam Sai-wing, a Hong Kong businessman, included two gold toilets in what he called a shrine to Lenin. He referred to a comment by Lenin about the use of gold after the victory of socialism.In 2019 the Hong Kong jewellery firm Coronet displayed a gold toilet in Shanghai. This toilet had a bulletproof seat containing  more than 40,000 small diamonds.Cattelan said that he made three gold toilets.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


America (Cattelan)

Prompt: In America (Cattelan), how is the Other gold toilets discussed?

In 2002 Winger Lam Sai-wing, a Hong Kong businessman, included two gold toilets in what he called a shrine to Lenin. He referred to a comment by Lenin about the use of gold after the victory of socialism.In 2019 the Hong Kong jewellery firm Coronet displayed a gold toilet in Shanghai. This toilet had a bulletproof seat containing  more than 40,000 small diamonds.Cattelan said that he made three gold toilets.

Category:Sculptures in the United Kingdom

Category:Donald Trump in popular culture

Category:Sculptures by Maurizio Cattelan

Category:Gold sculptures in the United States

Category:Robberies in the United Kingdom


Three Beauties of the Present Day

Prompt: Focus on Three Beauties of the Present Day and explain the abstract.

Three Beauties of the Present Day (当時三美人, Tōji San Bijin) is a nishiki-e colour woodblock print from c. 1792–93 by Japanese ukiyo-e artist Kitagawa Utamaro (c. 1753–1806).  The triangular composition depicts the profiles of three celebrity beauties of the time: geisha Tomimoto Toyohina, and teahouse waitresses Naniwaya Kita and Takashima Hisa.  The print is also known under the titles Three Beauties of the Kansei Era (寛政三美人, Kansei San Bijin) and Three Famous Beauties (高名三美人, Kōmei San Bijin).Utamaro was the leading ukiyo-e artist in the 1790s in the bijin-ga genre of pictures of female beauties.  He was known for his ōkubi-e, which focus on the heads.  The three models in Three Beauties of the Present Day were frequent subjects of Utamaro's portraiture.  Each figure in the work is adorned with an identifying family crest.  The portraits are idealized, and at first glance their faces seem similar, but subtle differences in their features and expressions can be detected—a level of realism at the time unusual in ukiyo-e, and a contrast with the stereotyped beauties in earlier masters such as Harunobu and Kiyonaga. The luxurious print was published by Tsutaya Jūzaburō and made with multiple woodblocks—one for each colour—and the background was dusted with muscovite to produce a glimmering effect.  It is believed to have been quite popular, and the triangular positioning became a vogue in the 1790s.  Utamaro produced several other pictures with the same arrangement of the same three beauties, and all three appeared in numerous other portraits by Utamaro and other artists.

:File:The Three Vinegar Tasters (cropped).jpg

The tall, graceful beauties of [[Torii Kiyonaga

File:Kiyonaga - Evening on the Banks of the Sumida River.jpg

alt=Illustration of three Japanese women in kimonos relaxing by a river


Three Beauties of the Present Day

Prompt: Explain the abstract of this artwork, Three Beauties of the Present Day.

Three Beauties of the Present Day (当時三美人, Tōji San Bijin) is a nishiki-e colour woodblock print from c. 1792–93 by Japanese ukiyo-e artist Kitagawa Utamaro (c. 1753–1806).  The triangular composition depicts the profiles of three celebrity beauties of the time: geisha Tomimoto Toyohina, and teahouse waitresses Naniwaya Kita and Takashima Hisa.  The print is also known under the titles Three Beauties of the Kansei Era (寛政三美人, Kansei San Bijin) and Three Famous Beauties (高名三美人, Kōmei San Bijin).Utamaro was the leading ukiyo-e artist in the 1790s in the bijin-ga genre of pictures of female beauties.  He was known for his ōkubi-e, which focus on the heads.  The three models in Three Beauties of the Present Day were frequent subjects of Utamaro's portraiture.  Each figure in the work is adorned with an identifying family crest.  The portraits are idealized, and at first glance their faces seem similar, but subtle differences in their features and expressions can be detected—a level of realism at the time unusual in ukiyo-e, and a contrast with the stereotyped beauties in earlier masters such as Harunobu and Kiyonaga. The luxurious print was published by Tsutaya Jūzaburō and made with multiple woodblocks—one for each colour—and the background was dusted with muscovite to produce a glimmering effect.  It is believed to have been quite popular, and the triangular positioning became a vogue in the 1790s.  Utamaro produced several other pictures with the same arrangement of the same three beauties, and all three appeared in numerous other portraits by Utamaro and other artists.

:File:The Three Vinegar Tasters (cropped).jpg

The tall, graceful beauties of [[Torii Kiyonaga

File:Kiyonaga - Evening on the Banks of the Sumida River.jpg

alt=Illustration of three Japanese women in kimonos relaxing by a river


Three Beauties of the Present Day

Prompt: How does Three Beauties of the Present Day explain its abstract?

Three Beauties of the Present Day (当時三美人, Tōji San Bijin) is a nishiki-e colour woodblock print from c. 1792–93 by Japanese ukiyo-e artist Kitagawa Utamaro (c. 1753–1806).  The triangular composition depicts the profiles of three celebrity beauties of the time: geisha Tomimoto Toyohina, and teahouse waitresses Naniwaya Kita and Takashima Hisa.  The print is also known under the titles Three Beauties of the Kansei Era (寛政三美人, Kansei San Bijin) and Three Famous Beauties (高名三美人, Kōmei San Bijin).Utamaro was the leading ukiyo-e artist in the 1790s in the bijin-ga genre of pictures of female beauties.  He was known for his ōkubi-e, which focus on the heads.  The three models in Three Beauties of the Present Day were frequent subjects of Utamaro's portraiture.  Each figure in the work is adorned with an identifying family crest.  The portraits are idealized, and at first glance their faces seem similar, but subtle differences in their features and expressions can be detected—a level of realism at the time unusual in ukiyo-e, and a contrast with the stereotyped beauties in earlier masters such as Harunobu and Kiyonaga. The luxurious print was published by Tsutaya Jūzaburō and made with multiple woodblocks—one for each colour—and the background was dusted with muscovite to produce a glimmering effect.  It is believed to have been quite popular, and the triangular positioning became a vogue in the 1790s.  Utamaro produced several other pictures with the same arrangement of the same three beauties, and all three appeared in numerous other portraits by Utamaro and other artists.

:File:The Three Vinegar Tasters (cropped).jpg

The tall, graceful beauties of [[Torii Kiyonaga

File:Kiyonaga - Evening on the Banks of the Sumida River.jpg

alt=Illustration of three Japanese women in kimonos relaxing by a river


Three Beauties of the Present Day

Prompt: In Three Beauties of the Present Day, how is the abstract discussed?

Three Beauties of the Present Day (当時三美人, Tōji San Bijin) is a nishiki-e colour woodblock print from c. 1792–93 by Japanese ukiyo-e artist Kitagawa Utamaro (c. 1753–1806).  The triangular composition depicts the profiles of three celebrity beauties of the time: geisha Tomimoto Toyohina, and teahouse waitresses Naniwaya Kita and Takashima Hisa.  The print is also known under the titles Three Beauties of the Kansei Era (寛政三美人, Kansei San Bijin) and Three Famous Beauties (高名三美人, Kōmei San Bijin).Utamaro was the leading ukiyo-e artist in the 1790s in the bijin-ga genre of pictures of female beauties.  He was known for his ōkubi-e, which focus on the heads.  The three models in Three Beauties of the Present Day were frequent subjects of Utamaro's portraiture.  Each figure in the work is adorned with an identifying family crest.  The portraits are idealized, and at first glance their faces seem similar, but subtle differences in their features and expressions can be detected—a level of realism at the time unusual in ukiyo-e, and a contrast with the stereotyped beauties in earlier masters such as Harunobu and Kiyonaga. The luxurious print was published by Tsutaya Jūzaburō and made with multiple woodblocks—one for each colour—and the background was dusted with muscovite to produce a glimmering effect.  It is believed to have been quite popular, and the triangular positioning became a vogue in the 1790s.  Utamaro produced several other pictures with the same arrangement of the same three beauties, and all three appeared in numerous other portraits by Utamaro and other artists.

:File:The Three Vinegar Tasters (cropped).jpg

The tall, graceful beauties of [[Torii Kiyonaga

File:Kiyonaga - Evening on the Banks of the Sumida River.jpg

alt=Illustration of three Japanese women in kimonos relaxing by a river


Three Beauties of the Present Day

Prompt: Focus on Three Beauties of the Present Day and explain the Background.

Ukiyo-e art flourished in Japan during the Edo period from the 17th to 19th centuries, and took as its primary subjects courtesans, kabuki actors, and others associated with the "floating world" lifestyle of the pleasure districts.  Alongside paintings, mass-produced woodblock prints were a major form of the genre.  In the mid-18th century full-colour nishiki-e prints became common, printed using a large number of woodblocks, one for each colour.  Towards the close of the 18th century there was a peak in both the quality and quantity of work.  A prominent genre was bijin-ga ("pictures of beauties"), which depicted most often courtesans and geisha at leisure, and promoted the entertainments to be found in the pleasure districts.Katsukawa Shunshō introduced the ōkubi-e "large-headed picture" in the 1760s; he and other members of the Katsukawa school such as Shunkō popularized the form for yakusha-e actor prints, as well as the dusting of mica in the backgrounds to produce a glittering effect.  Kiyonaga was the pre-eminent portraitist of beauties in the 1780s, and the tall, graceful beauties in his work had a great influence on Kitagawa Utamaro (c. 1753–1806), who was to succeed him in fame.  Utamaro studied under Toriyama Sekien (1712–1788), who had trained in the Kanō school of painting.  Around 1782, Utamaro came to work for the publisher Tsutaya Jūzaburō.In 1791, Tsutaya published three books by Santō Kyōden in the sharebon genre of humorous tales of adventures in the pleasure quarters; deeming them too frivolous, the military government punished the author with fifty days in manacles and fined the publisher half his property.  His luck was reversed shortly after with a new success: Utamaro began producing the first bijin ōkubi-e portraits, adapting ōkubi-e to the bijin-ga genre.  Their popularity restored Tsutaya's fortunes and made Utamaro's in the 1790s.

:File:The Three Vinegar Tasters (cropped).jpg

The tall, graceful beauties of [[Torii Kiyonaga

File:Kiyonaga - Evening on the Banks of the Sumida River.jpg

alt=Illustration of three Japanese women in kimonos relaxing by a river


Three Beauties of the Present Day

Prompt: Explain the Background of this artwork, Three Beauties of the Present Day.

Ukiyo-e art flourished in Japan during the Edo period from the 17th to 19th centuries, and took as its primary subjects courtesans, kabuki actors, and others associated with the "floating world" lifestyle of the pleasure districts.  Alongside paintings, mass-produced woodblock prints were a major form of the genre.  In the mid-18th century full-colour nishiki-e prints became common, printed using a large number of woodblocks, one for each colour.  Towards the close of the 18th century there was a peak in both the quality and quantity of work.  A prominent genre was bijin-ga ("pictures of beauties"), which depicted most often courtesans and geisha at leisure, and promoted the entertainments to be found in the pleasure districts.Katsukawa Shunshō introduced the ōkubi-e "large-headed picture" in the 1760s; he and other members of the Katsukawa school such as Shunkō popularized the form for yakusha-e actor prints, as well as the dusting of mica in the backgrounds to produce a glittering effect.  Kiyonaga was the pre-eminent portraitist of beauties in the 1780s, and the tall, graceful beauties in his work had a great influence on Kitagawa Utamaro (c. 1753–1806), who was to succeed him in fame.  Utamaro studied under Toriyama Sekien (1712–1788), who had trained in the Kanō school of painting.  Around 1782, Utamaro came to work for the publisher Tsutaya Jūzaburō.In 1791, Tsutaya published three books by Santō Kyōden in the sharebon genre of humorous tales of adventures in the pleasure quarters; deeming them too frivolous, the military government punished the author with fifty days in manacles and fined the publisher half his property.  His luck was reversed shortly after with a new success: Utamaro began producing the first bijin ōkubi-e portraits, adapting ōkubi-e to the bijin-ga genre.  Their popularity restored Tsutaya's fortunes and made Utamaro's in the 1790s.

:File:The Three Vinegar Tasters (cropped).jpg

The tall, graceful beauties of [[Torii Kiyonaga

File:Kiyonaga - Evening on the Banks of the Sumida River.jpg

alt=Illustration of three Japanese women in kimonos relaxing by a river


Three Beauties of the Present Day

Prompt: How does Three Beauties of the Present Day explain its Background?

Ukiyo-e art flourished in Japan during the Edo period from the 17th to 19th centuries, and took as its primary subjects courtesans, kabuki actors, and others associated with the "floating world" lifestyle of the pleasure districts.  Alongside paintings, mass-produced woodblock prints were a major form of the genre.  In the mid-18th century full-colour nishiki-e prints became common, printed using a large number of woodblocks, one for each colour.  Towards the close of the 18th century there was a peak in both the quality and quantity of work.  A prominent genre was bijin-ga ("pictures of beauties"), which depicted most often courtesans and geisha at leisure, and promoted the entertainments to be found in the pleasure districts.Katsukawa Shunshō introduced the ōkubi-e "large-headed picture" in the 1760s; he and other members of the Katsukawa school such as Shunkō popularized the form for yakusha-e actor prints, as well as the dusting of mica in the backgrounds to produce a glittering effect.  Kiyonaga was the pre-eminent portraitist of beauties in the 1780s, and the tall, graceful beauties in his work had a great influence on Kitagawa Utamaro (c. 1753–1806), who was to succeed him in fame.  Utamaro studied under Toriyama Sekien (1712–1788), who had trained in the Kanō school of painting.  Around 1782, Utamaro came to work for the publisher Tsutaya Jūzaburō.In 1791, Tsutaya published three books by Santō Kyōden in the sharebon genre of humorous tales of adventures in the pleasure quarters; deeming them too frivolous, the military government punished the author with fifty days in manacles and fined the publisher half his property.  His luck was reversed shortly after with a new success: Utamaro began producing the first bijin ōkubi-e portraits, adapting ōkubi-e to the bijin-ga genre.  Their popularity restored Tsutaya's fortunes and made Utamaro's in the 1790s.

:File:The Three Vinegar Tasters (cropped).jpg

The tall, graceful beauties of [[Torii Kiyonaga

File:Kiyonaga - Evening on the Banks of the Sumida River.jpg

alt=Illustration of three Japanese women in kimonos relaxing by a river


Three Beauties of the Present Day

Prompt: In Three Beauties of the Present Day, how is the Background discussed?

Ukiyo-e art flourished in Japan during the Edo period from the 17th to 19th centuries, and took as its primary subjects courtesans, kabuki actors, and others associated with the "floating world" lifestyle of the pleasure districts.  Alongside paintings, mass-produced woodblock prints were a major form of the genre.  In the mid-18th century full-colour nishiki-e prints became common, printed using a large number of woodblocks, one for each colour.  Towards the close of the 18th century there was a peak in both the quality and quantity of work.  A prominent genre was bijin-ga ("pictures of beauties"), which depicted most often courtesans and geisha at leisure, and promoted the entertainments to be found in the pleasure districts.Katsukawa Shunshō introduced the ōkubi-e "large-headed picture" in the 1760s; he and other members of the Katsukawa school such as Shunkō popularized the form for yakusha-e actor prints, as well as the dusting of mica in the backgrounds to produce a glittering effect.  Kiyonaga was the pre-eminent portraitist of beauties in the 1780s, and the tall, graceful beauties in his work had a great influence on Kitagawa Utamaro (c. 1753–1806), who was to succeed him in fame.  Utamaro studied under Toriyama Sekien (1712–1788), who had trained in the Kanō school of painting.  Around 1782, Utamaro came to work for the publisher Tsutaya Jūzaburō.In 1791, Tsutaya published three books by Santō Kyōden in the sharebon genre of humorous tales of adventures in the pleasure quarters; deeming them too frivolous, the military government punished the author with fifty days in manacles and fined the publisher half his property.  His luck was reversed shortly after with a new success: Utamaro began producing the first bijin ōkubi-e portraits, adapting ōkubi-e to the bijin-ga genre.  Their popularity restored Tsutaya's fortunes and made Utamaro's in the 1790s.

:File:The Three Vinegar Tasters (cropped).jpg

The tall, graceful beauties of [[Torii Kiyonaga

File:Kiyonaga - Evening on the Banks of the Sumida River.jpg

alt=Illustration of three Japanese women in kimonos relaxing by a river


Three Beauties of the Present Day

Prompt: Focus on Three Beauties of the Present Day and explain the Description and analysis.

Three Beauties of the Present Day is considered one of Utamaro's representative early works.  It depicts the profiles of three celebrity beauties of 1790s Edo (modern Tokyo).  Utamaro's subjects were not courtesans, as was expected in ukiyo-e, but young women known around Edo for their beauty.  These three were frequent subjects of Utamaro's art, and often appeared together.  Each is identified with an associated family crest.In the centre poses Tomimoto Toyohina, a famed geisha of the Tamamuraya house in the Yoshiwara pleasure district.  She was dubbed "Tomimoto" having made her name playing Tomimoto-bushi music on the shamisen.  Like the other two models, she has her hair up in the fashionable Shimada style that was popular at the time.  Contrasted with the homelier teahouse-girl garments of the other two models, she is dressed in the showier geisha style.  The Tomimoto crest's Japanese primrose design adorns the sleeve of her kimono.  Toyohina's birthdate is unknown.To the right Naniwaya Kita, also known as "O-Kita", well-known daughter of the owner of a teahouse in Asakusa near the temple Sensō-ji.  She is said to have been fifteen in the portrait, in which she wears a patterned black kimono and holds an uchiwa hand fan printed with her family emblem, a paulownia crest.At left is Takashima Hisa, also called "O-Hisa", from Yagenbori in Ryōgoku.  She was the eldest daughter of Takashima Chōbei, the owner of a roadside teahouse at his home called Senbeiya in which Hisa worked attracting customers.  Tradition places her age at sixteen when the portrait was made, and there is a subtly discernible difference in maturity in the faces of the two teahouse girls.  Hisa holds a hand towel over her left shoulder and an identifying three-leaved daimyo oak crest decorates her kimono.Crests of the three beautiesRather than attempting to capture a realistic portrayal of the three, Utamaro idealizes their likenesses.  To many viewers, the faces in this and other portraits of the time seem little individuated, or perhaps not at all. Others emphasize the subtle differences that distinguish the three in the shapes of the mouths, noses, and eyes:  Kita has plump cheeks and an innocent expression; her eyes are almond-shaped, and the bridge of her nose high;  Hisa has a stiffer, proud expression, and the bridge of Hisa's nose is lower and her eyes rounder than Kita's;  Toyohina's features fall in between, and she has an air of being older and more intellectual.The print is a vertical ōban of 37.9 × 24.9 centimetres (14.9 × 9.8 in), and is a nishiki-e—a full-colour ukiyo-e print made from multiple woodblocks, one for each colour; the inked blocks are pressed on Japanese handmade paper.  To produce a glittering effect the background is dusted with muscovite, a variety of mica.  The image falls under the genres of bijin-ga ("portraits of beauties") and ōkubi-e ("big-headed pictures"), the latter a genre Utamaro pioneered and was strongly associated with.The composition of the three figures is triangular, a traditional arrangement Tadashi Kobayashi compares to The Three Vinegar Tasters, in which Confucius, Gautama Buddha, and Laozi  symbolize the unity of Confucianism, Buddhism, and Taoism; similarly, Kobayashi says, Utamaro demonstrates the unity of the three competing celebrity beauties in the print.Portraits of the three Kansei beauties by Utamaro

:File:The Three Vinegar Tasters (cropped).jpg

The tall, graceful beauties of [[Torii Kiyonaga

File:Kiyonaga - Evening on the Banks of the Sumida River.jpg

alt=Illustration of three Japanese women in kimonos relaxing by a river


Three Beauties of the Present Day

Prompt: Explain the Description and analysis of this artwork, Three Beauties of the Present Day.

Three Beauties of the Present Day is considered one of Utamaro's representative early works.  It depicts the profiles of three celebrity beauties of 1790s Edo (modern Tokyo).  Utamaro's subjects were not courtesans, as was expected in ukiyo-e, but young women known around Edo for their beauty.  These three were frequent subjects of Utamaro's art, and often appeared together.  Each is identified with an associated family crest.In the centre poses Tomimoto Toyohina, a famed geisha of the Tamamuraya house in the Yoshiwara pleasure district.  She was dubbed "Tomimoto" having made her name playing Tomimoto-bushi music on the shamisen.  Like the other two models, she has her hair up in the fashionable Shimada style that was popular at the time.  Contrasted with the homelier teahouse-girl garments of the other two models, she is dressed in the showier geisha style.  The Tomimoto crest's Japanese primrose design adorns the sleeve of her kimono.  Toyohina's birthdate is unknown.To the right Naniwaya Kita, also known as "O-Kita", well-known daughter of the owner of a teahouse in Asakusa near the temple Sensō-ji.  She is said to have been fifteen in the portrait, in which she wears a patterned black kimono and holds an uchiwa hand fan printed with her family emblem, a paulownia crest.At left is Takashima Hisa, also called "O-Hisa", from Yagenbori in Ryōgoku.  She was the eldest daughter of Takashima Chōbei, the owner of a roadside teahouse at his home called Senbeiya in which Hisa worked attracting customers.  Tradition places her age at sixteen when the portrait was made, and there is a subtly discernible difference in maturity in the faces of the two teahouse girls.  Hisa holds a hand towel over her left shoulder and an identifying three-leaved daimyo oak crest decorates her kimono.Crests of the three beautiesRather than attempting to capture a realistic portrayal of the three, Utamaro idealizes their likenesses.  To many viewers, the faces in this and other portraits of the time seem little individuated, or perhaps not at all. Others emphasize the subtle differences that distinguish the three in the shapes of the mouths, noses, and eyes:  Kita has plump cheeks and an innocent expression; her eyes are almond-shaped, and the bridge of her nose high;  Hisa has a stiffer, proud expression, and the bridge of Hisa's nose is lower and her eyes rounder than Kita's;  Toyohina's features fall in between, and she has an air of being older and more intellectual.The print is a vertical ōban of 37.9 × 24.9 centimetres (14.9 × 9.8 in), and is a nishiki-e—a full-colour ukiyo-e print made from multiple woodblocks, one for each colour; the inked blocks are pressed on Japanese handmade paper.  To produce a glittering effect the background is dusted with muscovite, a variety of mica.  The image falls under the genres of bijin-ga ("portraits of beauties") and ōkubi-e ("big-headed pictures"), the latter a genre Utamaro pioneered and was strongly associated with.The composition of the three figures is triangular, a traditional arrangement Tadashi Kobayashi compares to The Three Vinegar Tasters, in which Confucius, Gautama Buddha, and Laozi  symbolize the unity of Confucianism, Buddhism, and Taoism; similarly, Kobayashi says, Utamaro demonstrates the unity of the three competing celebrity beauties in the print.Portraits of the three Kansei beauties by Utamaro

:File:The Three Vinegar Tasters (cropped).jpg

The tall, graceful beauties of [[Torii Kiyonaga

File:Kiyonaga - Evening on the Banks of the Sumida River.jpg

alt=Illustration of three Japanese women in kimonos relaxing by a river


Three Beauties of the Present Day

Prompt: How does Three Beauties of the Present Day explain its Description and analysis?

Three Beauties of the Present Day is considered one of Utamaro's representative early works.  It depicts the profiles of three celebrity beauties of 1790s Edo (modern Tokyo).  Utamaro's subjects were not courtesans, as was expected in ukiyo-e, but young women known around Edo for their beauty.  These three were frequent subjects of Utamaro's art, and often appeared together.  Each is identified with an associated family crest.In the centre poses Tomimoto Toyohina, a famed geisha of the Tamamuraya house in the Yoshiwara pleasure district.  She was dubbed "Tomimoto" having made her name playing Tomimoto-bushi music on the shamisen.  Like the other two models, she has her hair up in the fashionable Shimada style that was popular at the time.  Contrasted with the homelier teahouse-girl garments of the other two models, she is dressed in the showier geisha style.  The Tomimoto crest's Japanese primrose design adorns the sleeve of her kimono.  Toyohina's birthdate is unknown.To the right Naniwaya Kita, also known as "O-Kita", well-known daughter of the owner of a teahouse in Asakusa near the temple Sensō-ji.  She is said to have been fifteen in the portrait, in which she wears a patterned black kimono and holds an uchiwa hand fan printed with her family emblem, a paulownia crest.At left is Takashima Hisa, also called "O-Hisa", from Yagenbori in Ryōgoku.  She was the eldest daughter of Takashima Chōbei, the owner of a roadside teahouse at his home called Senbeiya in which Hisa worked attracting customers.  Tradition places her age at sixteen when the portrait was made, and there is a subtly discernible difference in maturity in the faces of the two teahouse girls.  Hisa holds a hand towel over her left shoulder and an identifying three-leaved daimyo oak crest decorates her kimono.Crests of the three beautiesRather than attempting to capture a realistic portrayal of the three, Utamaro idealizes their likenesses.  To many viewers, the faces in this and other portraits of the time seem little individuated, or perhaps not at all. Others emphasize the subtle differences that distinguish the three in the shapes of the mouths, noses, and eyes:  Kita has plump cheeks and an innocent expression; her eyes are almond-shaped, and the bridge of her nose high;  Hisa has a stiffer, proud expression, and the bridge of Hisa's nose is lower and her eyes rounder than Kita's;  Toyohina's features fall in between, and she has an air of being older and more intellectual.The print is a vertical ōban of 37.9 × 24.9 centimetres (14.9 × 9.8 in), and is a nishiki-e—a full-colour ukiyo-e print made from multiple woodblocks, one for each colour; the inked blocks are pressed on Japanese handmade paper.  To produce a glittering effect the background is dusted with muscovite, a variety of mica.  The image falls under the genres of bijin-ga ("portraits of beauties") and ōkubi-e ("big-headed pictures"), the latter a genre Utamaro pioneered and was strongly associated with.The composition of the three figures is triangular, a traditional arrangement Tadashi Kobayashi compares to The Three Vinegar Tasters, in which Confucius, Gautama Buddha, and Laozi  symbolize the unity of Confucianism, Buddhism, and Taoism; similarly, Kobayashi says, Utamaro demonstrates the unity of the three competing celebrity beauties in the print.Portraits of the three Kansei beauties by Utamaro

:File:The Three Vinegar Tasters (cropped).jpg

The tall, graceful beauties of [[Torii Kiyonaga

File:Kiyonaga - Evening on the Banks of the Sumida River.jpg

alt=Illustration of three Japanese women in kimonos relaxing by a river