Dr Barnardo's Memorial

Prompt: Explain the Architecture and description of this artwork, Dr Barnardo's Memorial.

The sculpture was undertaken by George Frampton, later famous for his statue of Peter Pan in Kensington Gardens and his memorial to W. S. Gilbert on the Victoria Embankment. Frampton donated his design without charge. The memorial forms an exedra, with a large, semi-circular, stone seat flanking the central plinth. The base has figures in bronze of three children, with a bust of Barnado above that, and culminates in a figure of a woman, representing Charity, embracing two further children. The base is inscribed with a quotation from Barnado's will: 'I HOPE TO DIE AS I HAVE LIVED/ IN THE HUMBLE BUT ASSURED FAITH OF/ JESUS CHRIST/ AS/ MY SAVIOUR, MY MASTER AND MY KING'. The walls that form the seat are also inscribed, to the left: 'SUFFER LITTLE CHILDREN TO COME UNTO ME/ FOR OF SUCH IS THE KINGDOM OF HEAVEN'; and to the right: 'IN AS MUCH AS YE DID IT UNTO ONE OF THE LEAST/ OF THESE MY BRETHREN YE DID IT UNTO ME'. A small memorial set into the base commemorates Syrie Barnado, who died in 1944.The memorial, described in Pevsner as "outstanding", was unveiled in 1908 by the Duchess of Albany. It was listed at Grade II in 1979, and upgraded to Grade II* in 2010.

Princess Victoria Adelaide of Schleswig-Holstein

Category:Monuments and memorials in London

Category:Buildings and structures completed in 1908

Category:Grade II* listed monuments and memorials

Category:Grade II* listed buildings in the London Borough of Redbridge


Dr Barnardo's Memorial

Prompt: How does Dr Barnardo's Memorial explain its Architecture and description?

The sculpture was undertaken by George Frampton, later famous for his statue of Peter Pan in Kensington Gardens and his memorial to W. S. Gilbert on the Victoria Embankment. Frampton donated his design without charge. The memorial forms an exedra, with a large, semi-circular, stone seat flanking the central plinth. The base has figures in bronze of three children, with a bust of Barnado above that, and culminates in a figure of a woman, representing Charity, embracing two further children. The base is inscribed with a quotation from Barnado's will: 'I HOPE TO DIE AS I HAVE LIVED/ IN THE HUMBLE BUT ASSURED FAITH OF/ JESUS CHRIST/ AS/ MY SAVIOUR, MY MASTER AND MY KING'. The walls that form the seat are also inscribed, to the left: 'SUFFER LITTLE CHILDREN TO COME UNTO ME/ FOR OF SUCH IS THE KINGDOM OF HEAVEN'; and to the right: 'IN AS MUCH AS YE DID IT UNTO ONE OF THE LEAST/ OF THESE MY BRETHREN YE DID IT UNTO ME'. A small memorial set into the base commemorates Syrie Barnado, who died in 1944.The memorial, described in Pevsner as "outstanding", was unveiled in 1908 by the Duchess of Albany. It was listed at Grade II in 1979, and upgraded to Grade II* in 2010.

Princess Victoria Adelaide of Schleswig-Holstein

Category:Monuments and memorials in London

Category:Buildings and structures completed in 1908

Category:Grade II* listed monuments and memorials

Category:Grade II* listed buildings in the London Borough of Redbridge


Dr Barnardo's Memorial

Prompt: In Dr Barnardo's Memorial, how is the Architecture and description discussed?

The sculpture was undertaken by George Frampton, later famous for his statue of Peter Pan in Kensington Gardens and his memorial to W. S. Gilbert on the Victoria Embankment. Frampton donated his design without charge. The memorial forms an exedra, with a large, semi-circular, stone seat flanking the central plinth. The base has figures in bronze of three children, with a bust of Barnado above that, and culminates in a figure of a woman, representing Charity, embracing two further children. The base is inscribed with a quotation from Barnado's will: 'I HOPE TO DIE AS I HAVE LIVED/ IN THE HUMBLE BUT ASSURED FAITH OF/ JESUS CHRIST/ AS/ MY SAVIOUR, MY MASTER AND MY KING'. The walls that form the seat are also inscribed, to the left: 'SUFFER LITTLE CHILDREN TO COME UNTO ME/ FOR OF SUCH IS THE KINGDOM OF HEAVEN'; and to the right: 'IN AS MUCH AS YE DID IT UNTO ONE OF THE LEAST/ OF THESE MY BRETHREN YE DID IT UNTO ME'. A small memorial set into the base commemorates Syrie Barnado, who died in 1944.The memorial, described in Pevsner as "outstanding", was unveiled in 1908 by the Duchess of Albany. It was listed at Grade II in 1979, and upgraded to Grade II* in 2010.

Princess Victoria Adelaide of Schleswig-Holstein

Category:Monuments and memorials in London

Category:Buildings and structures completed in 1908

Category:Grade II* listed monuments and memorials

Category:Grade II* listed buildings in the London Borough of Redbridge


Portrait of a Young Woman (La Muta)

Prompt: Focus on Portrait of a Young Woman (La Muta) and explain the abstract.

The Portrait of a Young Woman, also known as La Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino.The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences. Ingrid D. Rowland writes that "the vivid contrast between dark background and luminous skin ... would one day inspire Michelangelo Merisi da Caravaggio to change his palette — in Rome — and become the Caravaggio we know best." Although only recently attributed to Raphael, La Muta is ranked among the best portraits by his hand.The neatness of the large areas of colour that emerge in lighter tones from the background, and the analytical treatment of the details of the woman's clothing, are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour — used here in a fairly limited range — which unify the composition as a whole.Nicoletta Baldini describes the hands in this portrait as "vibratile," distinguishing it from those painted by Michelangelo or Da Vinci. Ingrid D. Rowland writes that the "austerely attractive young noblewoman ... is poking her index finger against the edge of the picture, literally, and knowingly, pushing its envelope of illusion — hence the mischievous glint in her eye."X-ray analysis has shown the presence of an early Raphael drawing under the painting, of a female, young face with soft features, with later modifications.

Category:Collection of the Galleria Nazionale delle Marche


Portrait of a Young Woman (La Muta)

Prompt: Explain the abstract of this artwork, Portrait of a Young Woman (La Muta).

The Portrait of a Young Woman, also known as La Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino.The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences. Ingrid D. Rowland writes that "the vivid contrast between dark background and luminous skin ... would one day inspire Michelangelo Merisi da Caravaggio to change his palette — in Rome — and become the Caravaggio we know best." Although only recently attributed to Raphael, La Muta is ranked among the best portraits by his hand.The neatness of the large areas of colour that emerge in lighter tones from the background, and the analytical treatment of the details of the woman's clothing, are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour — used here in a fairly limited range — which unify the composition as a whole.Nicoletta Baldini describes the hands in this portrait as "vibratile," distinguishing it from those painted by Michelangelo or Da Vinci. Ingrid D. Rowland writes that the "austerely attractive young noblewoman ... is poking her index finger against the edge of the picture, literally, and knowingly, pushing its envelope of illusion — hence the mischievous glint in her eye."X-ray analysis has shown the presence of an early Raphael drawing under the painting, of a female, young face with soft features, with later modifications.

Category:Collection of the Galleria Nazionale delle Marche


Portrait of a Young Woman (La Muta)

Prompt: How does Portrait of a Young Woman (La Muta) explain its abstract?

The Portrait of a Young Woman, also known as La Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino.The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences. Ingrid D. Rowland writes that "the vivid contrast between dark background and luminous skin ... would one day inspire Michelangelo Merisi da Caravaggio to change his palette — in Rome — and become the Caravaggio we know best." Although only recently attributed to Raphael, La Muta is ranked among the best portraits by his hand.The neatness of the large areas of colour that emerge in lighter tones from the background, and the analytical treatment of the details of the woman's clothing, are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour — used here in a fairly limited range — which unify the composition as a whole.Nicoletta Baldini describes the hands in this portrait as "vibratile," distinguishing it from those painted by Michelangelo or Da Vinci. Ingrid D. Rowland writes that the "austerely attractive young noblewoman ... is poking her index finger against the edge of the picture, literally, and knowingly, pushing its envelope of illusion — hence the mischievous glint in her eye."X-ray analysis has shown the presence of an early Raphael drawing under the painting, of a female, young face with soft features, with later modifications.

Category:Collection of the Galleria Nazionale delle Marche


Portrait of a Young Woman (La Muta)

Prompt: In Portrait of a Young Woman (La Muta), how is the abstract discussed?

The Portrait of a Young Woman, also known as La Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino.The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences. Ingrid D. Rowland writes that "the vivid contrast between dark background and luminous skin ... would one day inspire Michelangelo Merisi da Caravaggio to change his palette — in Rome — and become the Caravaggio we know best." Although only recently attributed to Raphael, La Muta is ranked among the best portraits by his hand.The neatness of the large areas of colour that emerge in lighter tones from the background, and the analytical treatment of the details of the woman's clothing, are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour — used here in a fairly limited range — which unify the composition as a whole.Nicoletta Baldini describes the hands in this portrait as "vibratile," distinguishing it from those painted by Michelangelo or Da Vinci. Ingrid D. Rowland writes that the "austerely attractive young noblewoman ... is poking her index finger against the edge of the picture, literally, and knowingly, pushing its envelope of illusion — hence the mischievous glint in her eye."X-ray analysis has shown the presence of an early Raphael drawing under the painting, of a female, young face with soft features, with later modifications.

Category:Collection of the Galleria Nazionale delle Marche


Antea (Parmigianino)

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

Antea (also known as Portrait of a Young Woman) is a painting by the Italian Mannerist artist Parmigianino. The painting is in the collection of the Museum of Capodimonte in Naples, Italy.

Category:Paintings in the Museo di Capodimonte


Antea (Parmigianino)

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

Antea (also known as Portrait of a Young Woman) is a painting by the Italian Mannerist artist Parmigianino. The painting is in the collection of the Museum of Capodimonte in Naples, Italy.

Category:Paintings in the Museo di Capodimonte


Antea (Parmigianino)

Prompt: How does Antea (Parmigianino) explain its abstract?

Antea (also known as Portrait of a Young Woman) is a painting by the Italian Mannerist artist Parmigianino. The painting is in the collection of the Museum of Capodimonte in Naples, Italy.

Category:Paintings in the Museo di Capodimonte


Antea (Parmigianino)

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

Antea (also known as Portrait of a Young Woman) is a painting by the Italian Mannerist artist Parmigianino. The painting is in the collection of the Museum of Capodimonte in Naples, Italy.

Category:Paintings in the Museo di Capodimonte


Antea (Parmigianino)

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

The work is mentioned in 1671 as part of the Farnese collections in the Palazzo del Giardino. In the late 17th century, the painting was moved to the Ducal Gallery in the Palazzo della Pilotta in Parma. It has been in Naples since 1734, aside from a short period in 1816-1817 at Palermo. During World War II it was moved to Montecassino, where it was stolen by the occupying German forces and brought to Berlin, and then to the Austrian salt mines of Altaussee, from where it returned to Italy in 1945.The subject of the painting remains largely a mystery. In 1671, Giacomo Barri, an artist and writer, referred to the woman as "Antea", the name of a famous 16th-century Roman courtesan, and stated she was the artist's mistress.  This identification has long been contested. Studies of the woman's garments, a mix of luxury and popular elements, have led to the hypothesis that she could be either the artist's daughter, a lover, or a servant of Parmigianino, if not Pellegrina Rossi di San Secondo or another unknown noblewoman of Parma. Art historian Elizabeth Cropper has written about the painting in the context of the extensive Italian Renaissance discourse on the specific traits and qualities of ideal female beauty.

Category:Paintings in the Museo di Capodimonte


Antea (Parmigianino)

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

The work is mentioned in 1671 as part of the Farnese collections in the Palazzo del Giardino. In the late 17th century, the painting was moved to the Ducal Gallery in the Palazzo della Pilotta in Parma. It has been in Naples since 1734, aside from a short period in 1816-1817 at Palermo. During World War II it was moved to Montecassino, where it was stolen by the occupying German forces and brought to Berlin, and then to the Austrian salt mines of Altaussee, from where it returned to Italy in 1945.The subject of the painting remains largely a mystery. In 1671, Giacomo Barri, an artist and writer, referred to the woman as "Antea", the name of a famous 16th-century Roman courtesan, and stated she was the artist's mistress.  This identification has long been contested. Studies of the woman's garments, a mix of luxury and popular elements, have led to the hypothesis that she could be either the artist's daughter, a lover, or a servant of Parmigianino, if not Pellegrina Rossi di San Secondo or another unknown noblewoman of Parma. Art historian Elizabeth Cropper has written about the painting in the context of the extensive Italian Renaissance discourse on the specific traits and qualities of ideal female beauty.

Category:Paintings in the Museo di Capodimonte


Antea (Parmigianino)

Prompt: How does Antea (Parmigianino) explain its History?

The work is mentioned in 1671 as part of the Farnese collections in the Palazzo del Giardino. In the late 17th century, the painting was moved to the Ducal Gallery in the Palazzo della Pilotta in Parma. It has been in Naples since 1734, aside from a short period in 1816-1817 at Palermo. During World War II it was moved to Montecassino, where it was stolen by the occupying German forces and brought to Berlin, and then to the Austrian salt mines of Altaussee, from where it returned to Italy in 1945.The subject of the painting remains largely a mystery. In 1671, Giacomo Barri, an artist and writer, referred to the woman as "Antea", the name of a famous 16th-century Roman courtesan, and stated she was the artist's mistress.  This identification has long been contested. Studies of the woman's garments, a mix of luxury and popular elements, have led to the hypothesis that she could be either the artist's daughter, a lover, or a servant of Parmigianino, if not Pellegrina Rossi di San Secondo or another unknown noblewoman of Parma. Art historian Elizabeth Cropper has written about the painting in the context of the extensive Italian Renaissance discourse on the specific traits and qualities of ideal female beauty.

Category:Paintings in the Museo di Capodimonte


Antea (Parmigianino)

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

The work is mentioned in 1671 as part of the Farnese collections in the Palazzo del Giardino. In the late 17th century, the painting was moved to the Ducal Gallery in the Palazzo della Pilotta in Parma. It has been in Naples since 1734, aside from a short period in 1816-1817 at Palermo. During World War II it was moved to Montecassino, where it was stolen by the occupying German forces and brought to Berlin, and then to the Austrian salt mines of Altaussee, from where it returned to Italy in 1945.The subject of the painting remains largely a mystery. In 1671, Giacomo Barri, an artist and writer, referred to the woman as "Antea", the name of a famous 16th-century Roman courtesan, and stated she was the artist's mistress.  This identification has long been contested. Studies of the woman's garments, a mix of luxury and popular elements, have led to the hypothesis that she could be either the artist's daughter, a lover, or a servant of Parmigianino, if not Pellegrina Rossi di San Secondo or another unknown noblewoman of Parma. Art historian Elizabeth Cropper has written about the painting in the context of the extensive Italian Renaissance discourse on the specific traits and qualities of ideal female beauty.

Category:Paintings in the Museo di Capodimonte


Antea (Parmigianino)

Prompt: Focus on Antea (Parmigianino) and explain the In Popular Culture.

The painting appears in the Gilmore Girls episode The Festival of Living Art, where Rory Gilmore portrays the subject of the painting.

Category:Paintings in the Museo di Capodimonte


Antea (Parmigianino)

Prompt: Explain the In Popular Culture of this artwork, Antea (Parmigianino).

The painting appears in the Gilmore Girls episode The Festival of Living Art, where Rory Gilmore portrays the subject of the painting.

Category:Paintings in the Museo di Capodimonte


Antea (Parmigianino)

Prompt: How does Antea (Parmigianino) explain its In Popular Culture?

The painting appears in the Gilmore Girls episode The Festival of Living Art, where Rory Gilmore portrays the subject of the painting.

Category:Paintings in the Museo di Capodimonte


Antea (Parmigianino)

Prompt: In Antea (Parmigianino), how is the In Popular Culture discussed?

The painting appears in the Gilmore Girls episode The Festival of Living Art, where Rory Gilmore portrays the subject of the painting.

Category:Paintings in the Museo di Capodimonte


Conestabile Madonna

Prompt: Focus on Conestabile Madonna and explain the abstract.

The Conestabile Madonna is a small (and probably unfinished) painting by the Italian Renaissance artist Raphael for the Conte della Staffa, executed c. 1502–1504. It was likely the last work painted by Raphael in Umbria before moving to Florence.Its name comes from the Conestabile della Staffa family of Perugia, from whom it was acquired by Alexander II of Russia on the 22. of April 1872. The Tsar presented it to his consort, Maria Alexandrovna. Since then, the painting has been on exhibit in the Hermitage Museum of St. Petersburg.The painting portrays the Madonna holding the Child while reading a book. In 1881, when the picture was moved to canvas, it was discovered that in the original version the Madonna contemplated a pomegranate (symbol of the Passion) instead of the book.

Category:Paintings in the Hermitage Museum

Category:Paintings of the Madonna and Child by Raphael


Conestabile Madonna

Prompt: Explain the abstract of this artwork, Conestabile Madonna.

The Conestabile Madonna is a small (and probably unfinished) painting by the Italian Renaissance artist Raphael for the Conte della Staffa, executed c. 1502–1504. It was likely the last work painted by Raphael in Umbria before moving to Florence.Its name comes from the Conestabile della Staffa family of Perugia, from whom it was acquired by Alexander II of Russia on the 22. of April 1872. The Tsar presented it to his consort, Maria Alexandrovna. Since then, the painting has been on exhibit in the Hermitage Museum of St. Petersburg.The painting portrays the Madonna holding the Child while reading a book. In 1881, when the picture was moved to canvas, it was discovered that in the original version the Madonna contemplated a pomegranate (symbol of the Passion) instead of the book.

Category:Paintings in the Hermitage Museum

Category:Paintings of the Madonna and Child by Raphael


Conestabile Madonna

Prompt: How does Conestabile Madonna explain its abstract?

The Conestabile Madonna is a small (and probably unfinished) painting by the Italian Renaissance artist Raphael for the Conte della Staffa, executed c. 1502–1504. It was likely the last work painted by Raphael in Umbria before moving to Florence.Its name comes from the Conestabile della Staffa family of Perugia, from whom it was acquired by Alexander II of Russia on the 22. of April 1872. The Tsar presented it to his consort, Maria Alexandrovna. Since then, the painting has been on exhibit in the Hermitage Museum of St. Petersburg.The painting portrays the Madonna holding the Child while reading a book. In 1881, when the picture was moved to canvas, it was discovered that in the original version the Madonna contemplated a pomegranate (symbol of the Passion) instead of the book.

Category:Paintings in the Hermitage Museum

Category:Paintings of the Madonna and Child by Raphael


Conestabile Madonna

Prompt: In Conestabile Madonna, how is the abstract discussed?

The Conestabile Madonna is a small (and probably unfinished) painting by the Italian Renaissance artist Raphael for the Conte della Staffa, executed c. 1502–1504. It was likely the last work painted by Raphael in Umbria before moving to Florence.Its name comes from the Conestabile della Staffa family of Perugia, from whom it was acquired by Alexander II of Russia on the 22. of April 1872. The Tsar presented it to his consort, Maria Alexandrovna. Since then, the painting has been on exhibit in the Hermitage Museum of St. Petersburg.The painting portrays the Madonna holding the Child while reading a book. In 1881, when the picture was moved to canvas, it was discovered that in the original version the Madonna contemplated a pomegranate (symbol of the Passion) instead of the book.

Category:Paintings in the Hermitage Museum

Category:Paintings of the Madonna and Child by Raphael


Statue of Saint George, Prague Castle

Prompt: Focus on Statue of Saint George, Prague Castle and explain the abstract.

The equestrian statue of Saint George (Czech: Socha svatého Jiří) is installed at Prague Castle in Prague, Czech Republic. The bronze sculpture was created in 1373 by Transylvanian Saxon sculptors Martin and Georg of "Clussenberch", today's Cluj (Martinum et Georgium de Clussenberch in the Latin inscription, in which the dialectal Saxon city name is used). The statue was probably cast in Nagyvárad/Großwardein, today's Oradea, where two other works by the two brothers have stood in the dome square until being melted for their metal in the 17th century during the Turkish wars.According to a Hungarian blog, the statue was first erected in the main church of Bratislava, then moved to Königgrätz, and was only brought to Prague in 1471. It speculates that Louis I (1342–1382) presented it as a gift to Emperor Charles IV.The statue was made with the lost-wax casting method, and was turned into a fountain statue in the 16th century.

Category:14th-century establishments in Europe

Category:Equestrian statues in the Czech Republic

Category:Bronze sculptures in the Czech Republic


Statue of Saint George, Prague Castle

Prompt: Explain the abstract of this artwork, Statue of Saint George, Prague Castle.

The equestrian statue of Saint George (Czech: Socha svatého Jiří) is installed at Prague Castle in Prague, Czech Republic. The bronze sculpture was created in 1373 by Transylvanian Saxon sculptors Martin and Georg of "Clussenberch", today's Cluj (Martinum et Georgium de Clussenberch in the Latin inscription, in which the dialectal Saxon city name is used). The statue was probably cast in Nagyvárad/Großwardein, today's Oradea, where two other works by the two brothers have stood in the dome square until being melted for their metal in the 17th century during the Turkish wars.According to a Hungarian blog, the statue was first erected in the main church of Bratislava, then moved to Königgrätz, and was only brought to Prague in 1471. It speculates that Louis I (1342–1382) presented it as a gift to Emperor Charles IV.The statue was made with the lost-wax casting method, and was turned into a fountain statue in the 16th century.

Category:14th-century establishments in Europe

Category:Equestrian statues in the Czech Republic

Category:Bronze sculptures in the Czech Republic


Statue of Saint George, Prague Castle

Prompt: How does Statue of Saint George, Prague Castle explain its abstract?

The equestrian statue of Saint George (Czech: Socha svatého Jiří) is installed at Prague Castle in Prague, Czech Republic. The bronze sculpture was created in 1373 by Transylvanian Saxon sculptors Martin and Georg of "Clussenberch", today's Cluj (Martinum et Georgium de Clussenberch in the Latin inscription, in which the dialectal Saxon city name is used). The statue was probably cast in Nagyvárad/Großwardein, today's Oradea, where two other works by the two brothers have stood in the dome square until being melted for their metal in the 17th century during the Turkish wars.According to a Hungarian blog, the statue was first erected in the main church of Bratislava, then moved to Königgrätz, and was only brought to Prague in 1471. It speculates that Louis I (1342–1382) presented it as a gift to Emperor Charles IV.The statue was made with the lost-wax casting method, and was turned into a fountain statue in the 16th century.

Category:14th-century establishments in Europe

Category:Equestrian statues in the Czech Republic

Category:Bronze sculptures in the Czech Republic


Statue of Saint George, Prague Castle

Prompt: In Statue of Saint George, Prague Castle, how is the abstract discussed?

The equestrian statue of Saint George (Czech: Socha svatého Jiří) is installed at Prague Castle in Prague, Czech Republic. The bronze sculpture was created in 1373 by Transylvanian Saxon sculptors Martin and Georg of "Clussenberch", today's Cluj (Martinum et Georgium de Clussenberch in the Latin inscription, in which the dialectal Saxon city name is used). The statue was probably cast in Nagyvárad/Großwardein, today's Oradea, where two other works by the two brothers have stood in the dome square until being melted for their metal in the 17th century during the Turkish wars.According to a Hungarian blog, the statue was first erected in the main church of Bratislava, then moved to Königgrätz, and was only brought to Prague in 1471. It speculates that Louis I (1342–1382) presented it as a gift to Emperor Charles IV.The statue was made with the lost-wax casting method, and was turned into a fountain statue in the 16th century.

Category:14th-century establishments in Europe

Category:Equestrian statues in the Czech Republic

Category:Bronze sculptures in the Czech Republic


The Sermon of St. Stephen (Carpaccio)

Prompt: Focus on The Sermon of St. Stephen (Carpaccio) and explain the abstract.

The Sermon of Saint Stephen  is an oil-on-canvas by Italian artist of the Venetian school Vittore Carpaccio, painted in 1514. It is now in the Louvre in Paris.

Category:Paintings in the Louvre by Italian artists


The Sermon of St. Stephen (Carpaccio)

Prompt: Explain the abstract of this artwork, The Sermon of St. Stephen (Carpaccio).

The Sermon of Saint Stephen  is an oil-on-canvas by Italian artist of the Venetian school Vittore Carpaccio, painted in 1514. It is now in the Louvre in Paris.

Category:Paintings in the Louvre by Italian artists


The Sermon of St. Stephen (Carpaccio)

Prompt: How does The Sermon of St. Stephen (Carpaccio) explain its abstract?

The Sermon of Saint Stephen  is an oil-on-canvas by Italian artist of the Venetian school Vittore Carpaccio, painted in 1514. It is now in the Louvre in Paris.

Category:Paintings in the Louvre by Italian artists


The Sermon of St. Stephen (Carpaccio)

Prompt: In The Sermon of St. Stephen (Carpaccio), how is the abstract discussed?

The Sermon of Saint Stephen  is an oil-on-canvas by Italian artist of the Venetian school Vittore Carpaccio, painted in 1514. It is now in the Louvre in Paris.

Category:Paintings in the Louvre by Italian artists


The Sermon of St. Stephen (Carpaccio)

Prompt: Focus on The Sermon of St. Stephen (Carpaccio) and explain the History.

This painting was one of five scenes representing the life of Saint Stephen, painted between 1511 and 1514 for the Scuola dei Lanieri, Santo Stefano (Venice). The series was broken up in 1806, when the religious houses were suppressed. Two panels went to the Brera Gallery, Milan; in 1812, Vivant Denon exchanged some of the northern paintings in the Louvre for Italian works in the Brera, and one of these panels was transferred under this arrangement. Another is in Berlin; one has disappeared, and the fifth is in Stuttgart.The Sermon of Saint Stephen the deacon, represented in this Louvre painting, took place in Jerusalem. This gave Carpaccio an excuse for filling his canvas with picturesque oriental costumes and architecture. Jerusalem in the early days of Christianity is here identified as Constantinople (actually Yoros Castle on the opposite side of the Bosphorus ) - a fantastic and imaginary Constantinople full of Turkish, antique, Byzantine and Italian elements. Carpaccio refers with pride, in a letter to the Marquis of Mantua, to a view of Jerusalem which he had painted.

Category:Paintings in the Louvre by Italian artists


The Sermon of St. Stephen (Carpaccio)

Prompt: Explain the History of this artwork, The Sermon of St. Stephen (Carpaccio).

This painting was one of five scenes representing the life of Saint Stephen, painted between 1511 and 1514 for the Scuola dei Lanieri, Santo Stefano (Venice). The series was broken up in 1806, when the religious houses were suppressed. Two panels went to the Brera Gallery, Milan; in 1812, Vivant Denon exchanged some of the northern paintings in the Louvre for Italian works in the Brera, and one of these panels was transferred under this arrangement. Another is in Berlin; one has disappeared, and the fifth is in Stuttgart.The Sermon of Saint Stephen the deacon, represented in this Louvre painting, took place in Jerusalem. This gave Carpaccio an excuse for filling his canvas with picturesque oriental costumes and architecture. Jerusalem in the early days of Christianity is here identified as Constantinople (actually Yoros Castle on the opposite side of the Bosphorus ) - a fantastic and imaginary Constantinople full of Turkish, antique, Byzantine and Italian elements. Carpaccio refers with pride, in a letter to the Marquis of Mantua, to a view of Jerusalem which he had painted.

Category:Paintings in the Louvre by Italian artists


The Sermon of St. Stephen (Carpaccio)

Prompt: How does The Sermon of St. Stephen (Carpaccio) explain its History?

This painting was one of five scenes representing the life of Saint Stephen, painted between 1511 and 1514 for the Scuola dei Lanieri, Santo Stefano (Venice). The series was broken up in 1806, when the religious houses were suppressed. Two panels went to the Brera Gallery, Milan; in 1812, Vivant Denon exchanged some of the northern paintings in the Louvre for Italian works in the Brera, and one of these panels was transferred under this arrangement. Another is in Berlin; one has disappeared, and the fifth is in Stuttgart.The Sermon of Saint Stephen the deacon, represented in this Louvre painting, took place in Jerusalem. This gave Carpaccio an excuse for filling his canvas with picturesque oriental costumes and architecture. Jerusalem in the early days of Christianity is here identified as Constantinople (actually Yoros Castle on the opposite side of the Bosphorus ) - a fantastic and imaginary Constantinople full of Turkish, antique, Byzantine and Italian elements. Carpaccio refers with pride, in a letter to the Marquis of Mantua, to a view of Jerusalem which he had painted.

Category:Paintings in the Louvre by Italian artists


The Sermon of St. Stephen (Carpaccio)

Prompt: In The Sermon of St. Stephen (Carpaccio), how is the History discussed?

This painting was one of five scenes representing the life of Saint Stephen, painted between 1511 and 1514 for the Scuola dei Lanieri, Santo Stefano (Venice). The series was broken up in 1806, when the religious houses were suppressed. Two panels went to the Brera Gallery, Milan; in 1812, Vivant Denon exchanged some of the northern paintings in the Louvre for Italian works in the Brera, and one of these panels was transferred under this arrangement. Another is in Berlin; one has disappeared, and the fifth is in Stuttgart.The Sermon of Saint Stephen the deacon, represented in this Louvre painting, took place in Jerusalem. This gave Carpaccio an excuse for filling his canvas with picturesque oriental costumes and architecture. Jerusalem in the early days of Christianity is here identified as Constantinople (actually Yoros Castle on the opposite side of the Bosphorus ) - a fantastic and imaginary Constantinople full of Turkish, antique, Byzantine and Italian elements. Carpaccio refers with pride, in a letter to the Marquis of Mantua, to a view of Jerusalem which he had painted.

Category:Paintings in the Louvre by Italian artists


The Foxes (Marc)

Prompt: Focus on The Foxes (Marc) and explain the abstract.

The Foxes (German: Die Füchse) is a 1913 painting by German painter Franz Marc. It was held by the Museum Kunstpalast in Düsseldorf until returned to the heirs of Kurt Grawi in 2022, and sold at auction by them.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


The Foxes (Marc)

Prompt: Explain the abstract of this artwork, The Foxes (Marc).

The Foxes (German: Die Füchse) is a 1913 painting by German painter Franz Marc. It was held by the Museum Kunstpalast in Düsseldorf until returned to the heirs of Kurt Grawi in 2022, and sold at auction by them.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


The Foxes (Marc)

Prompt: How does The Foxes (Marc) explain its abstract?

The Foxes (German: Die Füchse) is a 1913 painting by German painter Franz Marc. It was held by the Museum Kunstpalast in Düsseldorf until returned to the heirs of Kurt Grawi in 2022, and sold at auction by them.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


The Foxes (Marc)

Prompt: In The Foxes (Marc), how is the abstract discussed?

The Foxes (German: Die Füchse) is a 1913 painting by German painter Franz Marc. It was held by the Museum Kunstpalast in Düsseldorf until returned to the heirs of Kurt Grawi in 2022, and sold at auction by them.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


The Foxes (Marc)

Prompt: Focus on The Foxes (Marc) and explain the Analysis.

Prior to painting The Foxes in 1913, Marc was inspired by French Cubism and the Orphic works of Robert Delaunay. The Foxes reflects Marc's breakdown of the animals into abstract forms, presented in harmonized colors. The crystalline composition resembles stained glass windows in medieval churches.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


The Foxes (Marc)

Prompt: Explain the Analysis of this artwork, The Foxes (Marc).

Prior to painting The Foxes in 1913, Marc was inspired by French Cubism and the Orphic works of Robert Delaunay. The Foxes reflects Marc's breakdown of the animals into abstract forms, presented in harmonized colors. The crystalline composition resembles stained glass windows in medieval churches.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


The Foxes (Marc)

Prompt: How does The Foxes (Marc) explain its Analysis?

Prior to painting The Foxes in 1913, Marc was inspired by French Cubism and the Orphic works of Robert Delaunay. The Foxes reflects Marc's breakdown of the animals into abstract forms, presented in harmonized colors. The crystalline composition resembles stained glass windows in medieval churches.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


The Foxes (Marc)

Prompt: In The Foxes (Marc), how is the Analysis discussed?

Prior to painting The Foxes in 1913, Marc was inspired by French Cubism and the Orphic works of Robert Delaunay. The Foxes reflects Marc's breakdown of the animals into abstract forms, presented in harmonized colors. The crystalline composition resembles stained glass windows in medieval churches.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


The Foxes (Marc)

Prompt: Focus on The Foxes (Marc) and explain the Provenance.

Jewish investment banker Kurt Grawi purchased the painting in 1928. Following the rise of Nazi Germany, Grawi was forced to sell much of his art collection and was incarcerated in Sachsenhausen concentration camp. He was released after several weeks and escaped to Chile. Grawi still owned The Foxes, however, and sold the painting in 1940 to German-American film director William Dieterle. The painting was acquired by German businessman Helmut Horten in 1961, and he donated it to the Düsseldorf city art collections in 1962.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


The Foxes (Marc)

Prompt: Explain the Provenance of this artwork, The Foxes (Marc).

Jewish investment banker Kurt Grawi purchased the painting in 1928. Following the rise of Nazi Germany, Grawi was forced to sell much of his art collection and was incarcerated in Sachsenhausen concentration camp. He was released after several weeks and escaped to Chile. Grawi still owned The Foxes, however, and sold the painting in 1940 to German-American film director William Dieterle. The painting was acquired by German businessman Helmut Horten in 1961, and he donated it to the Düsseldorf city art collections in 1962.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


The Foxes (Marc)

Prompt: How does The Foxes (Marc) explain its Provenance?

Jewish investment banker Kurt Grawi purchased the painting in 1928. Following the rise of Nazi Germany, Grawi was forced to sell much of his art collection and was incarcerated in Sachsenhausen concentration camp. He was released after several weeks and escaped to Chile. Grawi still owned The Foxes, however, and sold the painting in 1940 to German-American film director William Dieterle. The painting was acquired by German businessman Helmut Horten in 1961, and he donated it to the Düsseldorf city art collections in 1962.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


The Foxes (Marc)

Prompt: In The Foxes (Marc), how is the Provenance discussed?

Jewish investment banker Kurt Grawi purchased the painting in 1928. Following the rise of Nazi Germany, Grawi was forced to sell much of his art collection and was incarcerated in Sachsenhausen concentration camp. He was released after several weeks and escaped to Chile. Grawi still owned The Foxes, however, and sold the painting in 1940 to German-American film director William Dieterle. The painting was acquired by German businessman Helmut Horten in 1961, and he donated it to the Düsseldorf city art collections in 1962.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


The Foxes (Marc)

Prompt: Focus on The Foxes (Marc) and explain the Restitution.

In 2017, the heirs of Kurt Grawi made a restitution claim for the painting. In 2021, the German advisory panel on Nazi-looted art urged the city of Düsseldorf to return the painting from the Museum Kunstpalast to the Grawi family. By then, the painting was valued between €15–€30 million.According to Der Spiegel, however, the city of Düsseldorf did not want to restitute the painting, and while promising its return, Düsseldorf was at the same time arguing that the sale had been voluntary and that the Grawis had been able to pay the special taxes levied on Jews by Nazis implying they still had resources.In January 2022, after months of "legal tug-of-war", Düsseldorf's Kunstpalast Museum restituted The Foxes to the Grawi heirs. It was sold at an auction at Christie's for £42.6 million in March 2022.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


The Foxes (Marc)

Prompt: Explain the Restitution of this artwork, The Foxes (Marc).

In 2017, the heirs of Kurt Grawi made a restitution claim for the painting. In 2021, the German advisory panel on Nazi-looted art urged the city of Düsseldorf to return the painting from the Museum Kunstpalast to the Grawi family. By then, the painting was valued between €15–€30 million.According to Der Spiegel, however, the city of Düsseldorf did not want to restitute the painting, and while promising its return, Düsseldorf was at the same time arguing that the sale had been voluntary and that the Grawis had been able to pay the special taxes levied on Jews by Nazis implying they still had resources.In January 2022, after months of "legal tug-of-war", Düsseldorf's Kunstpalast Museum restituted The Foxes to the Grawi heirs. It was sold at an auction at Christie's for £42.6 million in March 2022.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


The Foxes (Marc)

Prompt: How does The Foxes (Marc) explain its Restitution?

In 2017, the heirs of Kurt Grawi made a restitution claim for the painting. In 2021, the German advisory panel on Nazi-looted art urged the city of Düsseldorf to return the painting from the Museum Kunstpalast to the Grawi family. By then, the painting was valued between €15–€30 million.According to Der Spiegel, however, the city of Düsseldorf did not want to restitute the painting, and while promising its return, Düsseldorf was at the same time arguing that the sale had been voluntary and that the Grawis had been able to pay the special taxes levied on Jews by Nazis implying they still had resources.In January 2022, after months of "legal tug-of-war", Düsseldorf's Kunstpalast Museum restituted The Foxes to the Grawi heirs. It was sold at an auction at Christie's for £42.6 million in March 2022.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


The Foxes (Marc)

Prompt: In The Foxes (Marc), how is the Restitution discussed?

In 2017, the heirs of Kurt Grawi made a restitution claim for the painting. In 2021, the German advisory panel on Nazi-looted art urged the city of Düsseldorf to return the painting from the Museum Kunstpalast to the Grawi family. By then, the painting was valued between €15–€30 million.According to Der Spiegel, however, the city of Düsseldorf did not want to restitute the painting, and while promising its return, Düsseldorf was at the same time arguing that the sale had been voluntary and that the Grawis had been able to pay the special taxes levied on Jews by Nazis implying they still had resources.In January 2022, after months of "legal tug-of-war", Düsseldorf's Kunstpalast Museum restituted The Foxes to the Grawi heirs. It was sold at an auction at Christie's for £42.6 million in March 2022.

Nazi plunder
Franz Marc
Der Spiegel
List of works by Franz Marc
Christie's
stained glass
Google Arts & Culture
Category:1913 paintings
William Dieterle
Category:Oil on canvas paintings
Sachsenhausen concentration camp
Nazi Germany
Museum Kunstpalast
Cubism
Category:Foxes in art
Robert Delaunay
Orphic
Düsseldorf
Orphism (art)
Helmut Horten
Category:Paintings by Franz Marc
Category:Animal paintings
Kurt Grawi
Chile
The Art Newspaper
Nazi-looted art


Dovedale by Moonlight

Prompt: Focus on Dovedale by Moonlight and explain the abstract.

Dovedale by Moonlight, 1784, is one of five paintings by Joseph Wright of Derby which uses the picturesque valley of Dovedale as its subject. These paintings were sometimes made as pairs with one showing the view by day and the other by moonlight. Wright admitted that he had not observed this scene directly, "Moon lights & fire lights are but a sort of work with me for I cant with impunity go out at night and study the former, & the latter I have seen but once, and at a time too, when I thought not of painting such effects."

File:Study for a painting of Dovedale.jpg

Category:Collection of Derby Museum and Art Gallery

National Trust for Places of Historic Interest or Natural Beauty

Category:Paintings by Joseph Wright of Derby

A preparatory sketch for these paintings (now in [[Derby Museum and Art Gallery

Category:Paintings in the Allen Memorial Art Museum


Dovedale by Moonlight

Prompt: Explain the abstract of this artwork, Dovedale by Moonlight.

Dovedale by Moonlight, 1784, is one of five paintings by Joseph Wright of Derby which uses the picturesque valley of Dovedale as its subject. These paintings were sometimes made as pairs with one showing the view by day and the other by moonlight. Wright admitted that he had not observed this scene directly, "Moon lights & fire lights are but a sort of work with me for I cant with impunity go out at night and study the former, & the latter I have seen but once, and at a time too, when I thought not of painting such effects."

File:Study for a painting of Dovedale.jpg

Category:Collection of Derby Museum and Art Gallery

National Trust for Places of Historic Interest or Natural Beauty

Category:Paintings by Joseph Wright of Derby

A preparatory sketch for these paintings (now in [[Derby Museum and Art Gallery

Category:Paintings in the Allen Memorial Art Museum


Dovedale by Moonlight

Prompt: How does Dovedale by Moonlight explain its abstract?

Dovedale by Moonlight, 1784, is one of five paintings by Joseph Wright of Derby which uses the picturesque valley of Dovedale as its subject. These paintings were sometimes made as pairs with one showing the view by day and the other by moonlight. Wright admitted that he had not observed this scene directly, "Moon lights & fire lights are but a sort of work with me for I cant with impunity go out at night and study the former, & the latter I have seen but once, and at a time too, when I thought not of painting such effects."

File:Study for a painting of Dovedale.jpg

Category:Collection of Derby Museum and Art Gallery

National Trust for Places of Historic Interest or Natural Beauty

Category:Paintings by Joseph Wright of Derby

A preparatory sketch for these paintings (now in [[Derby Museum and Art Gallery

Category:Paintings in the Allen Memorial Art Museum


Dovedale by Moonlight

Prompt: In Dovedale by Moonlight, how is the abstract discussed?

Dovedale by Moonlight, 1784, is one of five paintings by Joseph Wright of Derby which uses the picturesque valley of Dovedale as its subject. These paintings were sometimes made as pairs with one showing the view by day and the other by moonlight. Wright admitted that he had not observed this scene directly, "Moon lights & fire lights are but a sort of work with me for I cant with impunity go out at night and study the former, & the latter I have seen but once, and at a time too, when I thought not of painting such effects."

File:Study for a painting of Dovedale.jpg

Category:Collection of Derby Museum and Art Gallery

National Trust for Places of Historic Interest or Natural Beauty

Category:Paintings by Joseph Wright of Derby

A preparatory sketch for these paintings (now in [[Derby Museum and Art Gallery

Category:Paintings in the Allen Memorial Art Museum


Dovedale by Moonlight

Prompt: Focus on Dovedale by Moonlight and explain the Description.

Dovedale is a very popular dale in Staffordshire and Wright's home county of Derbyshire. Admired in Wright's time, it has been owned by the National Trust since 1924 and made available to the many Peak District visitors. Dovedale is named for the River Dove and it is 3 miles (5 km) long.Wright's paintings appear to be from nature, but in a letter of 1787 he said that he had observed moonlight and firelight only once at night and this was some time before he decided to create this series of paintings. However his preparatory sketches show that he was using a mixture of studies and chance. The unusual reversal of light and shade in the trees in the sketch of Dovedale is said to be after using techniques created by the Russian born Alexander Cozens. Wright owned paintings by Cozens who taught his students to paint landscapes. He told them to create blots on paper and then use these as inspiration for the composition.

File:Study for a painting of Dovedale.jpg

Category:Collection of Derby Museum and Art Gallery

National Trust for Places of Historic Interest or Natural Beauty

Category:Paintings by Joseph Wright of Derby

A preparatory sketch for these paintings (now in [[Derby Museum and Art Gallery

Category:Paintings in the Allen Memorial Art Museum


Dovedale by Moonlight

Prompt: Explain the Description of this artwork, Dovedale by Moonlight.

Dovedale is a very popular dale in Staffordshire and Wright's home county of Derbyshire. Admired in Wright's time, it has been owned by the National Trust since 1924 and made available to the many Peak District visitors. Dovedale is named for the River Dove and it is 3 miles (5 km) long.Wright's paintings appear to be from nature, but in a letter of 1787 he said that he had observed moonlight and firelight only once at night and this was some time before he decided to create this series of paintings. However his preparatory sketches show that he was using a mixture of studies and chance. The unusual reversal of light and shade in the trees in the sketch of Dovedale is said to be after using techniques created by the Russian born Alexander Cozens. Wright owned paintings by Cozens who taught his students to paint landscapes. He told them to create blots on paper and then use these as inspiration for the composition.

File:Study for a painting of Dovedale.jpg

Category:Collection of Derby Museum and Art Gallery

National Trust for Places of Historic Interest or Natural Beauty

Category:Paintings by Joseph Wright of Derby

A preparatory sketch for these paintings (now in [[Derby Museum and Art Gallery

Category:Paintings in the Allen Memorial Art Museum


Dovedale by Moonlight

Prompt: How does Dovedale by Moonlight explain its Description?

Dovedale is a very popular dale in Staffordshire and Wright's home county of Derbyshire. Admired in Wright's time, it has been owned by the National Trust since 1924 and made available to the many Peak District visitors. Dovedale is named for the River Dove and it is 3 miles (5 km) long.Wright's paintings appear to be from nature, but in a letter of 1787 he said that he had observed moonlight and firelight only once at night and this was some time before he decided to create this series of paintings. However his preparatory sketches show that he was using a mixture of studies and chance. The unusual reversal of light and shade in the trees in the sketch of Dovedale is said to be after using techniques created by the Russian born Alexander Cozens. Wright owned paintings by Cozens who taught his students to paint landscapes. He told them to create blots on paper and then use these as inspiration for the composition.

File:Study for a painting of Dovedale.jpg

Category:Collection of Derby Museum and Art Gallery

National Trust for Places of Historic Interest or Natural Beauty

Category:Paintings by Joseph Wright of Derby

A preparatory sketch for these paintings (now in [[Derby Museum and Art Gallery

Category:Paintings in the Allen Memorial Art Museum


Dovedale by Moonlight

Prompt: In Dovedale by Moonlight, how is the Description discussed?

Dovedale is a very popular dale in Staffordshire and Wright's home county of Derbyshire. Admired in Wright's time, it has been owned by the National Trust since 1924 and made available to the many Peak District visitors. Dovedale is named for the River Dove and it is 3 miles (5 km) long.Wright's paintings appear to be from nature, but in a letter of 1787 he said that he had observed moonlight and firelight only once at night and this was some time before he decided to create this series of paintings. However his preparatory sketches show that he was using a mixture of studies and chance. The unusual reversal of light and shade in the trees in the sketch of Dovedale is said to be after using techniques created by the Russian born Alexander Cozens. Wright owned paintings by Cozens who taught his students to paint landscapes. He told them to create blots on paper and then use these as inspiration for the composition.

File:Study for a painting of Dovedale.jpg

Category:Collection of Derby Museum and Art Gallery

National Trust for Places of Historic Interest or Natural Beauty

Category:Paintings by Joseph Wright of Derby

A preparatory sketch for these paintings (now in [[Derby Museum and Art Gallery

Category:Paintings in the Allen Memorial Art Museum


Dovedale by Moonlight

Prompt: Focus on Dovedale by Moonlight and explain the History.

There are no known Derbyshire landscapes by Wright that are dateable before 1786. One of the problems is that many of Wright's paintings are dated by consulting Wright's accounts in his notebook. In the case of his English landscapes this has proved challenging. It is known that some of the Dovedale pictures are some of his earliest English landscapes.Wright frequently repeated a popular subject in his paintings as he did with his Virgil's Tomb pictures and his Blacksmith's Shop paintings. In this case he made five very similar paintings. The version at Oberlin College was painted in 1785 to 1786 and sold to Edward Mundy of Shipley Hall. The college obtained it in 1951. There is a matching painting to this which is a similar view but in daylight. That painting is still in Derbyshire at Parwich Hall which is in a small village close to Dovedale.Wright also did a daylight view of Dovedale in 1787 which he gave to the industrialist Josiah Wedgwood out of respect for his patronage on the arts. This painting is now in the Wedgwood Museum.Two other paintings of Dovedale were sold to Sir Brooke Boothby bt. of Ashbourne Hall, who had helped Wright when he put on the first one-man exhibition in London. Boothby also purchased two views of nearby Matlock, two paintings of bridges in Rome as well as an unusual 1781 portrait of himself lying by a brook holding a book by Rousseau.

File:Study for a painting of Dovedale.jpg

Category:Collection of Derby Museum and Art Gallery

National Trust for Places of Historic Interest or Natural Beauty

Category:Paintings by Joseph Wright of Derby

A preparatory sketch for these paintings (now in [[Derby Museum and Art Gallery

Category:Paintings in the Allen Memorial Art Museum


Dovedale by Moonlight

Prompt: Explain the History of this artwork, Dovedale by Moonlight.

There are no known Derbyshire landscapes by Wright that are dateable before 1786. One of the problems is that many of Wright's paintings are dated by consulting Wright's accounts in his notebook. In the case of his English landscapes this has proved challenging. It is known that some of the Dovedale pictures are some of his earliest English landscapes.Wright frequently repeated a popular subject in his paintings as he did with his Virgil's Tomb pictures and his Blacksmith's Shop paintings. In this case he made five very similar paintings. The version at Oberlin College was painted in 1785 to 1786 and sold to Edward Mundy of Shipley Hall. The college obtained it in 1951. There is a matching painting to this which is a similar view but in daylight. That painting is still in Derbyshire at Parwich Hall which is in a small village close to Dovedale.Wright also did a daylight view of Dovedale in 1787 which he gave to the industrialist Josiah Wedgwood out of respect for his patronage on the arts. This painting is now in the Wedgwood Museum.Two other paintings of Dovedale were sold to Sir Brooke Boothby bt. of Ashbourne Hall, who had helped Wright when he put on the first one-man exhibition in London. Boothby also purchased two views of nearby Matlock, two paintings of bridges in Rome as well as an unusual 1781 portrait of himself lying by a brook holding a book by Rousseau.

File:Study for a painting of Dovedale.jpg

Category:Collection of Derby Museum and Art Gallery

National Trust for Places of Historic Interest or Natural Beauty

Category:Paintings by Joseph Wright of Derby

A preparatory sketch for these paintings (now in [[Derby Museum and Art Gallery

Category:Paintings in the Allen Memorial Art Museum


Dovedale by Moonlight

Prompt: How does Dovedale by Moonlight explain its History?

There are no known Derbyshire landscapes by Wright that are dateable before 1786. One of the problems is that many of Wright's paintings are dated by consulting Wright's accounts in his notebook. In the case of his English landscapes this has proved challenging. It is known that some of the Dovedale pictures are some of his earliest English landscapes.Wright frequently repeated a popular subject in his paintings as he did with his Virgil's Tomb pictures and his Blacksmith's Shop paintings. In this case he made five very similar paintings. The version at Oberlin College was painted in 1785 to 1786 and sold to Edward Mundy of Shipley Hall. The college obtained it in 1951. There is a matching painting to this which is a similar view but in daylight. That painting is still in Derbyshire at Parwich Hall which is in a small village close to Dovedale.Wright also did a daylight view of Dovedale in 1787 which he gave to the industrialist Josiah Wedgwood out of respect for his patronage on the arts. This painting is now in the Wedgwood Museum.Two other paintings of Dovedale were sold to Sir Brooke Boothby bt. of Ashbourne Hall, who had helped Wright when he put on the first one-man exhibition in London. Boothby also purchased two views of nearby Matlock, two paintings of bridges in Rome as well as an unusual 1781 portrait of himself lying by a brook holding a book by Rousseau.

File:Study for a painting of Dovedale.jpg

Category:Collection of Derby Museum and Art Gallery

National Trust for Places of Historic Interest or Natural Beauty

Category:Paintings by Joseph Wright of Derby

A preparatory sketch for these paintings (now in [[Derby Museum and Art Gallery

Category:Paintings in the Allen Memorial Art Museum


Dovedale by Moonlight

Prompt: In Dovedale by Moonlight, how is the History discussed?

There are no known Derbyshire landscapes by Wright that are dateable before 1786. One of the problems is that many of Wright's paintings are dated by consulting Wright's accounts in his notebook. In the case of his English landscapes this has proved challenging. It is known that some of the Dovedale pictures are some of his earliest English landscapes.Wright frequently repeated a popular subject in his paintings as he did with his Virgil's Tomb pictures and his Blacksmith's Shop paintings. In this case he made five very similar paintings. The version at Oberlin College was painted in 1785 to 1786 and sold to Edward Mundy of Shipley Hall. The college obtained it in 1951. There is a matching painting to this which is a similar view but in daylight. That painting is still in Derbyshire at Parwich Hall which is in a small village close to Dovedale.Wright also did a daylight view of Dovedale in 1787 which he gave to the industrialist Josiah Wedgwood out of respect for his patronage on the arts. This painting is now in the Wedgwood Museum.Two other paintings of Dovedale were sold to Sir Brooke Boothby bt. of Ashbourne Hall, who had helped Wright when he put on the first one-man exhibition in London. Boothby also purchased two views of nearby Matlock, two paintings of bridges in Rome as well as an unusual 1781 portrait of himself lying by a brook holding a book by Rousseau.

File:Study for a painting of Dovedale.jpg

Category:Collection of Derby Museum and Art Gallery

National Trust for Places of Historic Interest or Natural Beauty

Category:Paintings by Joseph Wright of Derby

A preparatory sketch for these paintings (now in [[Derby Museum and Art Gallery

Category:Paintings in the Allen Memorial Art Museum


Trump Buddha

Prompt: Focus on Trump Buddha and explain the abstract.

Trump, the Buddha of Knowing of the Western Paradise (Chinese: 西天懂佛, lit. 'Sukhavati Buddha of Knowing Everything'), commonly known as Trump Buddha or Buddha Trump, is a Buddha-inspired statue of Donald Trump by Chinese furniture maker and artist Hong Jinshi.The statue depicts Donald Trump in a Buddhist robe sitting in a cross-legged position with his hands folded on his lap, and his thumbs pointed outward. In Buddhist art, this pose represents meditation and contemplation. Hong Jinshi began selling copies of the statue on the website Taobao in 2021, with 16 centimeter-tall versions selling for 999 yuan (150 USD), and larger, 46 centimeter-tall versions selling for 3,999 yuan (610 USD). The slogan "Make Your Company Great Again" (a parody of Trump's slogan "Make America Great Again") was used to promote the statue. The statue's listing describes it as "Trump, who knows Buddhism better than anyone". Due to the popularity of the statue, many counterfeit statues were sold on Taobao by other sellers for lower prices. Hong has stated that he hopes to eventually give a copy of the statue to Donald Trump as a gift.Hong was inspired by the juxtaposition between Buddhist ideals and Trump's personality, particularly the Buddha's calm and collected demeanor compared to Trump's perceived loud and stressed personality despite his personal success in life. He was also inspired by one of Trump's nicknames on Chinese social media, "King of Knowing Everything". Hong also said that he has no political opinion on Trump, as he is a former American president who lives very far away from China.

Donald Trump
Category:Parodies of Donald Trump
Buddha-like mindset
The Guardian
counterfeit
Hong Jinshi
Counterfeit consumer goods
Taobao
Buddhist art
Category:Works by Chinese people
Make America Great Again
The Buddha
Category:2021 sculptures
Category:Statues of Donald Trump
Category:Buddhist sculpture
Buddha
The New York Times


Trump Buddha

Prompt: Explain the abstract of this artwork, Trump Buddha.

Trump, the Buddha of Knowing of the Western Paradise (Chinese: 西天懂佛, lit. 'Sukhavati Buddha of Knowing Everything'), commonly known as Trump Buddha or Buddha Trump, is a Buddha-inspired statue of Donald Trump by Chinese furniture maker and artist Hong Jinshi.The statue depicts Donald Trump in a Buddhist robe sitting in a cross-legged position with his hands folded on his lap, and his thumbs pointed outward. In Buddhist art, this pose represents meditation and contemplation. Hong Jinshi began selling copies of the statue on the website Taobao in 2021, with 16 centimeter-tall versions selling for 999 yuan (150 USD), and larger, 46 centimeter-tall versions selling for 3,999 yuan (610 USD). The slogan "Make Your Company Great Again" (a parody of Trump's slogan "Make America Great Again") was used to promote the statue. The statue's listing describes it as "Trump, who knows Buddhism better than anyone". Due to the popularity of the statue, many counterfeit statues were sold on Taobao by other sellers for lower prices. Hong has stated that he hopes to eventually give a copy of the statue to Donald Trump as a gift.Hong was inspired by the juxtaposition between Buddhist ideals and Trump's personality, particularly the Buddha's calm and collected demeanor compared to Trump's perceived loud and stressed personality despite his personal success in life. He was also inspired by one of Trump's nicknames on Chinese social media, "King of Knowing Everything". Hong also said that he has no political opinion on Trump, as he is a former American president who lives very far away from China.

Donald Trump
Category:Parodies of Donald Trump
Buddha-like mindset
The Guardian
counterfeit
Hong Jinshi
Counterfeit consumer goods
Taobao
Buddhist art
Category:Works by Chinese people
Make America Great Again
The Buddha
Category:2021 sculptures
Category:Statues of Donald Trump
Category:Buddhist sculpture
Buddha
The New York Times


Trump Buddha

Prompt: How does Trump Buddha explain its abstract?

Trump, the Buddha of Knowing of the Western Paradise (Chinese: 西天懂佛, lit. 'Sukhavati Buddha of Knowing Everything'), commonly known as Trump Buddha or Buddha Trump, is a Buddha-inspired statue of Donald Trump by Chinese furniture maker and artist Hong Jinshi.The statue depicts Donald Trump in a Buddhist robe sitting in a cross-legged position with his hands folded on his lap, and his thumbs pointed outward. In Buddhist art, this pose represents meditation and contemplation. Hong Jinshi began selling copies of the statue on the website Taobao in 2021, with 16 centimeter-tall versions selling for 999 yuan (150 USD), and larger, 46 centimeter-tall versions selling for 3,999 yuan (610 USD). The slogan "Make Your Company Great Again" (a parody of Trump's slogan "Make America Great Again") was used to promote the statue. The statue's listing describes it as "Trump, who knows Buddhism better than anyone". Due to the popularity of the statue, many counterfeit statues were sold on Taobao by other sellers for lower prices. Hong has stated that he hopes to eventually give a copy of the statue to Donald Trump as a gift.Hong was inspired by the juxtaposition between Buddhist ideals and Trump's personality, particularly the Buddha's calm and collected demeanor compared to Trump's perceived loud and stressed personality despite his personal success in life. He was also inspired by one of Trump's nicknames on Chinese social media, "King of Knowing Everything". Hong also said that he has no political opinion on Trump, as he is a former American president who lives very far away from China.

Donald Trump
Category:Parodies of Donald Trump
Buddha-like mindset
The Guardian
counterfeit
Hong Jinshi
Counterfeit consumer goods
Taobao
Buddhist art
Category:Works by Chinese people
Make America Great Again
The Buddha
Category:2021 sculptures
Category:Statues of Donald Trump
Category:Buddhist sculpture
Buddha
The New York Times


Trump Buddha

Prompt: In Trump Buddha, how is the abstract discussed?

Trump, the Buddha of Knowing of the Western Paradise (Chinese: 西天懂佛, lit. 'Sukhavati Buddha of Knowing Everything'), commonly known as Trump Buddha or Buddha Trump, is a Buddha-inspired statue of Donald Trump by Chinese furniture maker and artist Hong Jinshi.The statue depicts Donald Trump in a Buddhist robe sitting in a cross-legged position with his hands folded on his lap, and his thumbs pointed outward. In Buddhist art, this pose represents meditation and contemplation. Hong Jinshi began selling copies of the statue on the website Taobao in 2021, with 16 centimeter-tall versions selling for 999 yuan (150 USD), and larger, 46 centimeter-tall versions selling for 3,999 yuan (610 USD). The slogan "Make Your Company Great Again" (a parody of Trump's slogan "Make America Great Again") was used to promote the statue. The statue's listing describes it as "Trump, who knows Buddhism better than anyone". Due to the popularity of the statue, many counterfeit statues were sold on Taobao by other sellers for lower prices. Hong has stated that he hopes to eventually give a copy of the statue to Donald Trump as a gift.Hong was inspired by the juxtaposition between Buddhist ideals and Trump's personality, particularly the Buddha's calm and collected demeanor compared to Trump's perceived loud and stressed personality despite his personal success in life. He was also inspired by one of Trump's nicknames on Chinese social media, "King of Knowing Everything". Hong also said that he has no political opinion on Trump, as he is a former American president who lives very far away from China.

Donald Trump
Category:Parodies of Donald Trump
Buddha-like mindset
The Guardian
counterfeit
Hong Jinshi
Counterfeit consumer goods
Taobao
Buddhist art
Category:Works by Chinese people
Make America Great Again
The Buddha
Category:2021 sculptures
Category:Statues of Donald Trump
Category:Buddhist sculpture
Buddha
The New York Times


Judith at the Banquet of Holofernes

Prompt: Focus on Judith at the Banquet of Holofernes and explain the abstract.

Judith at the Banquet of Holofernes (also known as Artemisia Receiving Mausolus' Ashes and Sophonisba Receiving the Poisoned Cup) is a painting by the Dutch master Rembrandt.  It is now in the Museo del Prado in Madrid, Spain. It is signed "REMBRANDT F: 1634".The subject of the picture was unclear for centuries. It portrays a young woman, formerly identified as Sophonisba or Artemisia, or a generic queen due to her jewels and rich garments, receiving a cup from a maiden. Today it is considered to be Judith at the banquet of Holofernes.For the woman, Rembrandt probably used his wife Saskia as model.

Category:Paintings in the Museo del Prado by Dutch artists


Judith at the Banquet of Holofernes

Prompt: Explain the abstract of this artwork, Judith at the Banquet of Holofernes.

Judith at the Banquet of Holofernes (also known as Artemisia Receiving Mausolus' Ashes and Sophonisba Receiving the Poisoned Cup) is a painting by the Dutch master Rembrandt.  It is now in the Museo del Prado in Madrid, Spain. It is signed "REMBRANDT F: 1634".The subject of the picture was unclear for centuries. It portrays a young woman, formerly identified as Sophonisba or Artemisia, or a generic queen due to her jewels and rich garments, receiving a cup from a maiden. Today it is considered to be Judith at the banquet of Holofernes.For the woman, Rembrandt probably used his wife Saskia as model.

Category:Paintings in the Museo del Prado by Dutch artists


Judith at the Banquet of Holofernes

Prompt: How does Judith at the Banquet of Holofernes explain its abstract?

Judith at the Banquet of Holofernes (also known as Artemisia Receiving Mausolus' Ashes and Sophonisba Receiving the Poisoned Cup) is a painting by the Dutch master Rembrandt.  It is now in the Museo del Prado in Madrid, Spain. It is signed "REMBRANDT F: 1634".The subject of the picture was unclear for centuries. It portrays a young woman, formerly identified as Sophonisba or Artemisia, or a generic queen due to her jewels and rich garments, receiving a cup from a maiden. Today it is considered to be Judith at the banquet of Holofernes.For the woman, Rembrandt probably used his wife Saskia as model.

Category:Paintings in the Museo del Prado by Dutch artists


Judith at the Banquet of Holofernes

Prompt: In Judith at the Banquet of Holofernes, how is the abstract discussed?

Judith at the Banquet of Holofernes (also known as Artemisia Receiving Mausolus' Ashes and Sophonisba Receiving the Poisoned Cup) is a painting by the Dutch master Rembrandt.  It is now in the Museo del Prado in Madrid, Spain. It is signed "REMBRANDT F: 1634".The subject of the picture was unclear for centuries. It portrays a young woman, formerly identified as Sophonisba or Artemisia, or a generic queen due to her jewels and rich garments, receiving a cup from a maiden. Today it is considered to be Judith at the banquet of Holofernes.For the woman, Rembrandt probably used his wife Saskia as model.

Category:Paintings in the Museo del Prado by Dutch artists


Danseuse (Csaky)

Prompt: Focus on Danseuse (Csaky) and explain the abstract.

Danseuse, also known as Femme à l'éventail, or Femme à la cruche, is an early Cubist, Proto-Art Deco sculpture created in 1912 by the Hungarian avant-garde sculptor Joseph Csaky (1888–1971). This black and white photograph from the Csaky family archives shows a frontal view of the original 1912 plaster. Danseuse was exhibited in Paris at the 1912 Salon d'Automne (n. 405), an exhibition that provoked a succès de scandale and resulted in a xenophobic and anti-modernist quarrel in the French National Assembly. The sculpture was then exhibited at the 1914 Salon des Indépendants entitled Femme à l'éventail (n. 813); and at Galerie Moos, Geneva, 1920, entitled Femme à la cruche.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: Explain the abstract of this artwork, Danseuse (Csaky).

Danseuse, also known as Femme à l'éventail, or Femme à la cruche, is an early Cubist, Proto-Art Deco sculpture created in 1912 by the Hungarian avant-garde sculptor Joseph Csaky (1888–1971). This black and white photograph from the Csaky family archives shows a frontal view of the original 1912 plaster. Danseuse was exhibited in Paris at the 1912 Salon d'Automne (n. 405), an exhibition that provoked a succès de scandale and resulted in a xenophobic and anti-modernist quarrel in the French National Assembly. The sculpture was then exhibited at the 1914 Salon des Indépendants entitled Femme à l'éventail (n. 813); and at Galerie Moos, Geneva, 1920, entitled Femme à la cruche.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: How does Danseuse (Csaky) explain its abstract?

Danseuse, also known as Femme à l'éventail, or Femme à la cruche, is an early Cubist, Proto-Art Deco sculpture created in 1912 by the Hungarian avant-garde sculptor Joseph Csaky (1888–1971). This black and white photograph from the Csaky family archives shows a frontal view of the original 1912 plaster. Danseuse was exhibited in Paris at the 1912 Salon d'Automne (n. 405), an exhibition that provoked a succès de scandale and resulted in a xenophobic and anti-modernist quarrel in the French National Assembly. The sculpture was then exhibited at the 1914 Salon des Indépendants entitled Femme à l'éventail (n. 813); and at Galerie Moos, Geneva, 1920, entitled Femme à la cruche.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: In Danseuse (Csaky), how is the abstract discussed?

Danseuse, also known as Femme à l'éventail, or Femme à la cruche, is an early Cubist, Proto-Art Deco sculpture created in 1912 by the Hungarian avant-garde sculptor Joseph Csaky (1888–1971). This black and white photograph from the Csaky family archives shows a frontal view of the original 1912 plaster. Danseuse was exhibited in Paris at the 1912 Salon d'Automne (n. 405), an exhibition that provoked a succès de scandale and resulted in a xenophobic and anti-modernist quarrel in the French National Assembly. The sculpture was then exhibited at the 1914 Salon des Indépendants entitled Femme à l'éventail (n. 813); and at Galerie Moos, Geneva, 1920, entitled Femme à la cruche.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: Focus on Danseuse (Csaky) and explain the Description.

Danseuse is a plaster sculpture carved in a vertical format. The work represents a woman standing or dancing nude with a folded fan in her left hand and her right knee leaning on a vase. The sculpture, known from an early photograph, is executed in a highly Cubist syntax, in opposition to the softness and curvilinearity of Nabis, Symbolist or Art Nouveau forms.The figure, at first glance delicate, feminine, wearing a necklace, graceful with a classical allure, is constructed with a series of faceted planar forms that together form a tight cohesive structure. The head, with its stylish coiffure, and the models facial features are simply constructed with only a few surface planes juxtaposed at seemingly right angles. Even the vase, upon close examination, appears treated in geometric terms, its sphericity broken by an angular cut to the right, barely visible in the photograph.The treatment of Csaky's Danseuse, as other works by the artist executed between 1910 and 1913, suggests, as Albert Elsen notes, that Csaky had looked not only at Picasso's earlier painting and sculpture, but also at African tribal masks whose exaggerated features and simplified design accommodated the need to be seen at a distance and to evoke strong feeling.Just as in Csaky's Groupe de femmes (1911–12), Danseuse already showed a new way of representing the human figure, an unwillingness to revert to classical, academic or traditional methods of representation. The complex angular syntax visible in Danseuse was born out of a growing sense of contemporary dynamism, out of rhythm, balance, harmony and out of the powerful geometric qualities of Egyptian art, African art, early Cycladic art, Gothic art, of Pierre Puvis de Chavannes, Auguste Rodin, Gustave Courbet, Paul Gauguin, Georges Seurat and Paul Cézanne, all of whom Csaky greatly admired.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: Explain the Description of this artwork, Danseuse (Csaky).

Danseuse is a plaster sculpture carved in a vertical format. The work represents a woman standing or dancing nude with a folded fan in her left hand and her right knee leaning on a vase. The sculpture, known from an early photograph, is executed in a highly Cubist syntax, in opposition to the softness and curvilinearity of Nabis, Symbolist or Art Nouveau forms.The figure, at first glance delicate, feminine, wearing a necklace, graceful with a classical allure, is constructed with a series of faceted planar forms that together form a tight cohesive structure. The head, with its stylish coiffure, and the models facial features are simply constructed with only a few surface planes juxtaposed at seemingly right angles. Even the vase, upon close examination, appears treated in geometric terms, its sphericity broken by an angular cut to the right, barely visible in the photograph.The treatment of Csaky's Danseuse, as other works by the artist executed between 1910 and 1913, suggests, as Albert Elsen notes, that Csaky had looked not only at Picasso's earlier painting and sculpture, but also at African tribal masks whose exaggerated features and simplified design accommodated the need to be seen at a distance and to evoke strong feeling.Just as in Csaky's Groupe de femmes (1911–12), Danseuse already showed a new way of representing the human figure, an unwillingness to revert to classical, academic or traditional methods of representation. The complex angular syntax visible in Danseuse was born out of a growing sense of contemporary dynamism, out of rhythm, balance, harmony and out of the powerful geometric qualities of Egyptian art, African art, early Cycladic art, Gothic art, of Pierre Puvis de Chavannes, Auguste Rodin, Gustave Courbet, Paul Gauguin, Georges Seurat and Paul Cézanne, all of whom Csaky greatly admired.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: How does Danseuse (Csaky) explain its Description?

Danseuse is a plaster sculpture carved in a vertical format. The work represents a woman standing or dancing nude with a folded fan in her left hand and her right knee leaning on a vase. The sculpture, known from an early photograph, is executed in a highly Cubist syntax, in opposition to the softness and curvilinearity of Nabis, Symbolist or Art Nouveau forms.The figure, at first glance delicate, feminine, wearing a necklace, graceful with a classical allure, is constructed with a series of faceted planar forms that together form a tight cohesive structure. The head, with its stylish coiffure, and the models facial features are simply constructed with only a few surface planes juxtaposed at seemingly right angles. Even the vase, upon close examination, appears treated in geometric terms, its sphericity broken by an angular cut to the right, barely visible in the photograph.The treatment of Csaky's Danseuse, as other works by the artist executed between 1910 and 1913, suggests, as Albert Elsen notes, that Csaky had looked not only at Picasso's earlier painting and sculpture, but also at African tribal masks whose exaggerated features and simplified design accommodated the need to be seen at a distance and to evoke strong feeling.Just as in Csaky's Groupe de femmes (1911–12), Danseuse already showed a new way of representing the human figure, an unwillingness to revert to classical, academic or traditional methods of representation. The complex angular syntax visible in Danseuse was born out of a growing sense of contemporary dynamism, out of rhythm, balance, harmony and out of the powerful geometric qualities of Egyptian art, African art, early Cycladic art, Gothic art, of Pierre Puvis de Chavannes, Auguste Rodin, Gustave Courbet, Paul Gauguin, Georges Seurat and Paul Cézanne, all of whom Csaky greatly admired.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: In Danseuse (Csaky), how is the Description discussed?

Danseuse is a plaster sculpture carved in a vertical format. The work represents a woman standing or dancing nude with a folded fan in her left hand and her right knee leaning on a vase. The sculpture, known from an early photograph, is executed in a highly Cubist syntax, in opposition to the softness and curvilinearity of Nabis, Symbolist or Art Nouveau forms.The figure, at first glance delicate, feminine, wearing a necklace, graceful with a classical allure, is constructed with a series of faceted planar forms that together form a tight cohesive structure. The head, with its stylish coiffure, and the models facial features are simply constructed with only a few surface planes juxtaposed at seemingly right angles. Even the vase, upon close examination, appears treated in geometric terms, its sphericity broken by an angular cut to the right, barely visible in the photograph.The treatment of Csaky's Danseuse, as other works by the artist executed between 1910 and 1913, suggests, as Albert Elsen notes, that Csaky had looked not only at Picasso's earlier painting and sculpture, but also at African tribal masks whose exaggerated features and simplified design accommodated the need to be seen at a distance and to evoke strong feeling.Just as in Csaky's Groupe de femmes (1911–12), Danseuse already showed a new way of representing the human figure, an unwillingness to revert to classical, academic or traditional methods of representation. The complex angular syntax visible in Danseuse was born out of a growing sense of contemporary dynamism, out of rhythm, balance, harmony and out of the powerful geometric qualities of Egyptian art, African art, early Cycladic art, Gothic art, of Pierre Puvis de Chavannes, Auguste Rodin, Gustave Courbet, Paul Gauguin, Georges Seurat and Paul Cézanne, all of whom Csaky greatly admired.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: Focus on Danseuse (Csaky) and explain the Salon d'Automne, 1912.

The 1912 Automne exhibition, held in Paris at the Grand Palais des Champs-Elysées from 1 October to 8 November resulted in a xenophobe and anti-modernist quarrel in the National Assembly (France). The group of artists now recognized as Cubists, among which several non-French citizens exhibited, were regrouped into the same room: Salle XI. The Cubist room was packed full with spectators, as others waited in line to get in, recalled Albert Gleizes. The resistance to both foreigners and avant-garde art was part of a more profound crises: that of defining modern French art in the wake of Impressionism centered in Paris. Placed into question was the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political during the Cubist exhibition. The critic Louis Vauxcelles (in Les Arts..., 1912) was most implicated in the deliberations. On 3 December 1912 the polemic reached the Chambre des députés and was debated at the French National Assembly.The scandal prompted the critic Roger Allard to defend the Cubists in the journal La Côte, pointing out that it wasn't the first time the Salon d'Automne—a venue to promote modern art—came under attack by city officials, the Institute, and members of the Conseil. And it would not be the last either.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: Explain the Salon d'Automne, 1912 of this artwork, Danseuse (Csaky).

The 1912 Automne exhibition, held in Paris at the Grand Palais des Champs-Elysées from 1 October to 8 November resulted in a xenophobe and anti-modernist quarrel in the National Assembly (France). The group of artists now recognized as Cubists, among which several non-French citizens exhibited, were regrouped into the same room: Salle XI. The Cubist room was packed full with spectators, as others waited in line to get in, recalled Albert Gleizes. The resistance to both foreigners and avant-garde art was part of a more profound crises: that of defining modern French art in the wake of Impressionism centered in Paris. Placed into question was the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political during the Cubist exhibition. The critic Louis Vauxcelles (in Les Arts..., 1912) was most implicated in the deliberations. On 3 December 1912 the polemic reached the Chambre des députés and was debated at the French National Assembly.The scandal prompted the critic Roger Allard to defend the Cubists in the journal La Côte, pointing out that it wasn't the first time the Salon d'Automne—a venue to promote modern art—came under attack by city officials, the Institute, and members of the Conseil. And it would not be the last either.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: How does Danseuse (Csaky) explain its Salon d'Automne, 1912?

The 1912 Automne exhibition, held in Paris at the Grand Palais des Champs-Elysées from 1 October to 8 November resulted in a xenophobe and anti-modernist quarrel in the National Assembly (France). The group of artists now recognized as Cubists, among which several non-French citizens exhibited, were regrouped into the same room: Salle XI. The Cubist room was packed full with spectators, as others waited in line to get in, recalled Albert Gleizes. The resistance to both foreigners and avant-garde art was part of a more profound crises: that of defining modern French art in the wake of Impressionism centered in Paris. Placed into question was the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political during the Cubist exhibition. The critic Louis Vauxcelles (in Les Arts..., 1912) was most implicated in the deliberations. On 3 December 1912 the polemic reached the Chambre des députés and was debated at the French National Assembly.The scandal prompted the critic Roger Allard to defend the Cubists in the journal La Côte, pointing out that it wasn't the first time the Salon d'Automne—a venue to promote modern art—came under attack by city officials, the Institute, and members of the Conseil. And it would not be the last either.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: In Danseuse (Csaky), how is the Salon d'Automne, 1912 discussed?

The 1912 Automne exhibition, held in Paris at the Grand Palais des Champs-Elysées from 1 October to 8 November resulted in a xenophobe and anti-modernist quarrel in the National Assembly (France). The group of artists now recognized as Cubists, among which several non-French citizens exhibited, were regrouped into the same room: Salle XI. The Cubist room was packed full with spectators, as others waited in line to get in, recalled Albert Gleizes. The resistance to both foreigners and avant-garde art was part of a more profound crises: that of defining modern French art in the wake of Impressionism centered in Paris. Placed into question was the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political during the Cubist exhibition. The critic Louis Vauxcelles (in Les Arts..., 1912) was most implicated in the deliberations. On 3 December 1912 the polemic reached the Chambre des députés and was debated at the French National Assembly.The scandal prompted the critic Roger Allard to defend the Cubists in the journal La Côte, pointing out that it wasn't the first time the Salon d'Automne—a venue to promote modern art—came under attack by city officials, the Institute, and members of the Conseil. And it would not be the last either.

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg

l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud)


Danseuse (Csaky)

Prompt: In the context of Danseuse (Csaky), explain the Works exhibited in Salle XI, the Cubist room and the Salon d'Automne, 1912.

Joseph Csaky exhibited the sculptures Danseuse (Femme à l'éventail, or Femme à la cruche) no. 405 (location unknown), Groupe de femmes, 1911-1912 (location unknown), Portrait de M.S.H., no. 91 (location unknown)Albert Gleizes, l'Homme au Balcon (Man on a Balcony, Portrait of Dr. Théo Morinaud) 1912 (Philadelphia Museum of Art), also exhibited at the Armory show, New York, Chicago, Boston, 1913.Jean Metzinger entered three works: Dancer in a café (entitled Danseuse), La Plume Jaune (The Yellow Feather), Femme à l'Éventail (Woman with a Fan) (Solomon R. Guggenheim Museum, New York), hung in the decorative arts section inside La Maison Cubiste (the Cubist House).Francis Picabia, 1912, La Source (The Spring) (Museum of Modern Art, New York)Fernand Léger exhibited La Femme en Bleu (Woman in Blue), 1912 (Kunstmuseum, Basel) and Le passage à niveau (The Level Crossing), 1912 (Fondation Beyeler, Riehen, Switzerland)Roger de La Fresnaye, Les Baigneuse (The bathers) 1912 (The National Gallery, Washington) and Les joueurs de cartes (Card Players)Henri Le Fauconnier, The Huntsman (Haags Gemeentemuseum, The Hague, Netherlands) and Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) 1912 (Museum of Art, Rhode Island School of Design).André Lhote, Le jugement de Paris, 1912 (Private collection)František Kupka, Amorpha, Fugue à deux couleurs (Fugue in Two Colors), 1912 (Narodni Galerie, Prague), and Amorpha Chromatique Chaude.Alexander Archipenko, Family Life, 1912, sculptureAmedeo Modigliani, exhibited four sculptures of elongated and highly stylized headsRaymond Duchamp-Villon, La Maison Cubiste (The Cubist House), Projet d'Hotel, Façade architecturale, 1912

File:Joseph Csaky, Head, 1913, Plaster lost. Photo René Richard, Joseph Csáky, Frankfurt, 1988.jpg