Self-Portrait with Halo and Snake

Prompt: Focus on Self-Portrait with Halo and Snake and explain the abstract.

Self-Portrait with Halo and Snake, also known as  Self-Portrait, is an 1889 oil-on-wood painting by French artist Paul Gauguin, which represents his late Brittany period in the fishing village of Le Pouldu in northwestern France. No longer comfortable with Pont-Aven, Gauguin moved on to Le Pouldu with his friend and student Meijer de Haan and a small group of artists. He stayed for several months in the autumn of 1889 and the summer of 1890, where the group spent their time decorating the interior of Marie Henry's inn with every major type of art work. Gauguin painted his Self-Portrait  in the dining room with its companion piece,  Portrait of Jacob Meyer de Haan (1889).The painting shows Gauguin against a red background with a halo above his head and apples hanging beside him as he holds a snake in his hand while plants or flowers appear in the foreground.  The religious symbolism and the stylistic influence of Japanese wood-block prints and cloisonnism are apparent. The portrait was completed several years before Gauguin visited Tahiti and is one of more than 40 self-portraits he completed during his lifetime.  The work reached the art market in 1919 when Marie Henry sold it at the Galerie Barbazanges in Paris as part of her collected works from the Le Pouldu period.  American banker Chester Dale acquired the painting in 1928, gifting it upon his death in 1962 to the National Gallery of Art in Washington, D.C.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: Explain the abstract of this artwork, Self-Portrait with Halo and Snake.

Self-Portrait with Halo and Snake, also known as  Self-Portrait, is an 1889 oil-on-wood painting by French artist Paul Gauguin, which represents his late Brittany period in the fishing village of Le Pouldu in northwestern France. No longer comfortable with Pont-Aven, Gauguin moved on to Le Pouldu with his friend and student Meijer de Haan and a small group of artists. He stayed for several months in the autumn of 1889 and the summer of 1890, where the group spent their time decorating the interior of Marie Henry's inn with every major type of art work. Gauguin painted his Self-Portrait  in the dining room with its companion piece,  Portrait of Jacob Meyer de Haan (1889).The painting shows Gauguin against a red background with a halo above his head and apples hanging beside him as he holds a snake in his hand while plants or flowers appear in the foreground.  The religious symbolism and the stylistic influence of Japanese wood-block prints and cloisonnism are apparent. The portrait was completed several years before Gauguin visited Tahiti and is one of more than 40 self-portraits he completed during his lifetime.  The work reached the art market in 1919 when Marie Henry sold it at the Galerie Barbazanges in Paris as part of her collected works from the Le Pouldu period.  American banker Chester Dale acquired the painting in 1928, gifting it upon his death in 1962 to the National Gallery of Art in Washington, D.C.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: How does Self-Portrait with Halo and Snake explain its abstract?

Self-Portrait with Halo and Snake, also known as  Self-Portrait, is an 1889 oil-on-wood painting by French artist Paul Gauguin, which represents his late Brittany period in the fishing village of Le Pouldu in northwestern France. No longer comfortable with Pont-Aven, Gauguin moved on to Le Pouldu with his friend and student Meijer de Haan and a small group of artists. He stayed for several months in the autumn of 1889 and the summer of 1890, where the group spent their time decorating the interior of Marie Henry's inn with every major type of art work. Gauguin painted his Self-Portrait  in the dining room with its companion piece,  Portrait of Jacob Meyer de Haan (1889).The painting shows Gauguin against a red background with a halo above his head and apples hanging beside him as he holds a snake in his hand while plants or flowers appear in the foreground.  The religious symbolism and the stylistic influence of Japanese wood-block prints and cloisonnism are apparent. The portrait was completed several years before Gauguin visited Tahiti and is one of more than 40 self-portraits he completed during his lifetime.  The work reached the art market in 1919 when Marie Henry sold it at the Galerie Barbazanges in Paris as part of her collected works from the Le Pouldu period.  American banker Chester Dale acquired the painting in 1928, gifting it upon his death in 1962 to the National Gallery of Art in Washington, D.C.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: In Self-Portrait with Halo and Snake, how is the abstract discussed?

Self-Portrait with Halo and Snake, also known as  Self-Portrait, is an 1889 oil-on-wood painting by French artist Paul Gauguin, which represents his late Brittany period in the fishing village of Le Pouldu in northwestern France. No longer comfortable with Pont-Aven, Gauguin moved on to Le Pouldu with his friend and student Meijer de Haan and a small group of artists. He stayed for several months in the autumn of 1889 and the summer of 1890, where the group spent their time decorating the interior of Marie Henry's inn with every major type of art work. Gauguin painted his Self-Portrait  in the dining room with its companion piece,  Portrait of Jacob Meyer de Haan (1889).The painting shows Gauguin against a red background with a halo above his head and apples hanging beside him as he holds a snake in his hand while plants or flowers appear in the foreground.  The religious symbolism and the stylistic influence of Japanese wood-block prints and cloisonnism are apparent. The portrait was completed several years before Gauguin visited Tahiti and is one of more than 40 self-portraits he completed during his lifetime.  The work reached the art market in 1919 when Marie Henry sold it at the Galerie Barbazanges in Paris as part of her collected works from the Le Pouldu period.  American banker Chester Dale acquired the painting in 1928, gifting it upon his death in 1962 to the National Gallery of Art in Washington, D.C.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: Focus on Self-Portrait with Halo and Snake and explain the Background.

Paul Gauguin (1848–1903) was a French Post-Impressionist artist and figure in the Symbolist movement known for his contributions to the Synthetist style. In 1886, he spent the summer in Pont-Aven in Brittany, an artists colony that became known as the Pont-Aven School for Gauguin's influence and the work they produced. In late 1888, Gauguin painted for nine weeks with Vincent van Gogh at his Yellow House in Arles in the south of France before van Gogh had a breakdown, leading him to cut off his ear and be hospitalized.  Gauguin left Arles and never saw van Gogh again, but they continued to exchange letters and ideas. He briefly returned to Paris where he lived with painter Émile Schuffenecker, but returned to Pont-Aven in the spring of 1889 only to find it too crowded. Gauguin moved farther away "to escape the tourists and the Parisian and foreign painters" and arrived at Le Pouldu on October 2, 1889.  He found lodgings with Meijer de Haan at Buvette de la Plage, an inn run by Marie Henry. De Haan introduced Gauguin to Thomas Carlyle's novel Sartor Resartus (1836) by way of conversation.  Although he would not read the novel for several more years, Gauguin became acquainted with Carlyle's ideas which would influence his approach to art during this time.The interior of Marie Henry's inn became their canvas, and they painted their work on the walls, ceilings, and windows.  They were later joined by artists Paul Sérusier and Charles Filiger.  According to Nora M. Heimann, when the room was completed, it "encompassed paintings of every major type—genre, landscape, self-portraiture, portraiture, still life, and even history painting—in media ranging from tempera and oil on plaster to oil on canvas and panel; as well as prints and drawings; painted and glazed ceramic vessels; exotic found objects; and carved, polychromed figures in wood."Gauguin tried to win the affection of Marie Henry, the innkeeper, but she spurned his advances and became intimate with de Haan instead, leaving Gauguin jealous.  Gauguin departed on November 7, 1890, leaving his work at Marie Henry's inn. She retired in 1893 and moved to Kerfany, taking many of the art works with her.  She continued to lease the inn until 1911 when she sold it. When the new owner was redecorating the inn in 1924, which by then had been converted into a restaurant, the rest of the murals were discovered buried intact under wallpaper.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: Explain the Background of this artwork, Self-Portrait with Halo and Snake.

Paul Gauguin (1848–1903) was a French Post-Impressionist artist and figure in the Symbolist movement known for his contributions to the Synthetist style. In 1886, he spent the summer in Pont-Aven in Brittany, an artists colony that became known as the Pont-Aven School for Gauguin's influence and the work they produced. In late 1888, Gauguin painted for nine weeks with Vincent van Gogh at his Yellow House in Arles in the south of France before van Gogh had a breakdown, leading him to cut off his ear and be hospitalized.  Gauguin left Arles and never saw van Gogh again, but they continued to exchange letters and ideas. He briefly returned to Paris where he lived with painter Émile Schuffenecker, but returned to Pont-Aven in the spring of 1889 only to find it too crowded. Gauguin moved farther away "to escape the tourists and the Parisian and foreign painters" and arrived at Le Pouldu on October 2, 1889.  He found lodgings with Meijer de Haan at Buvette de la Plage, an inn run by Marie Henry. De Haan introduced Gauguin to Thomas Carlyle's novel Sartor Resartus (1836) by way of conversation.  Although he would not read the novel for several more years, Gauguin became acquainted with Carlyle's ideas which would influence his approach to art during this time.The interior of Marie Henry's inn became their canvas, and they painted their work on the walls, ceilings, and windows.  They were later joined by artists Paul Sérusier and Charles Filiger.  According to Nora M. Heimann, when the room was completed, it "encompassed paintings of every major type—genre, landscape, self-portraiture, portraiture, still life, and even history painting—in media ranging from tempera and oil on plaster to oil on canvas and panel; as well as prints and drawings; painted and glazed ceramic vessels; exotic found objects; and carved, polychromed figures in wood."Gauguin tried to win the affection of Marie Henry, the innkeeper, but she spurned his advances and became intimate with de Haan instead, leaving Gauguin jealous.  Gauguin departed on November 7, 1890, leaving his work at Marie Henry's inn. She retired in 1893 and moved to Kerfany, taking many of the art works with her.  She continued to lease the inn until 1911 when she sold it. When the new owner was redecorating the inn in 1924, which by then had been converted into a restaurant, the rest of the murals were discovered buried intact under wallpaper.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: How does Self-Portrait with Halo and Snake explain its Background?

Paul Gauguin (1848–1903) was a French Post-Impressionist artist and figure in the Symbolist movement known for his contributions to the Synthetist style. In 1886, he spent the summer in Pont-Aven in Brittany, an artists colony that became known as the Pont-Aven School for Gauguin's influence and the work they produced. In late 1888, Gauguin painted for nine weeks with Vincent van Gogh at his Yellow House in Arles in the south of France before van Gogh had a breakdown, leading him to cut off his ear and be hospitalized.  Gauguin left Arles and never saw van Gogh again, but they continued to exchange letters and ideas. He briefly returned to Paris where he lived with painter Émile Schuffenecker, but returned to Pont-Aven in the spring of 1889 only to find it too crowded. Gauguin moved farther away "to escape the tourists and the Parisian and foreign painters" and arrived at Le Pouldu on October 2, 1889.  He found lodgings with Meijer de Haan at Buvette de la Plage, an inn run by Marie Henry. De Haan introduced Gauguin to Thomas Carlyle's novel Sartor Resartus (1836) by way of conversation.  Although he would not read the novel for several more years, Gauguin became acquainted with Carlyle's ideas which would influence his approach to art during this time.The interior of Marie Henry's inn became their canvas, and they painted their work on the walls, ceilings, and windows.  They were later joined by artists Paul Sérusier and Charles Filiger.  According to Nora M. Heimann, when the room was completed, it "encompassed paintings of every major type—genre, landscape, self-portraiture, portraiture, still life, and even history painting—in media ranging from tempera and oil on plaster to oil on canvas and panel; as well as prints and drawings; painted and glazed ceramic vessels; exotic found objects; and carved, polychromed figures in wood."Gauguin tried to win the affection of Marie Henry, the innkeeper, but she spurned his advances and became intimate with de Haan instead, leaving Gauguin jealous.  Gauguin departed on November 7, 1890, leaving his work at Marie Henry's inn. She retired in 1893 and moved to Kerfany, taking many of the art works with her.  She continued to lease the inn until 1911 when she sold it. When the new owner was redecorating the inn in 1924, which by then had been converted into a restaurant, the rest of the murals were discovered buried intact under wallpaper.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: In Self-Portrait with Halo and Snake, how is the Background discussed?

Paul Gauguin (1848–1903) was a French Post-Impressionist artist and figure in the Symbolist movement known for his contributions to the Synthetist style. In 1886, he spent the summer in Pont-Aven in Brittany, an artists colony that became known as the Pont-Aven School for Gauguin's influence and the work they produced. In late 1888, Gauguin painted for nine weeks with Vincent van Gogh at his Yellow House in Arles in the south of France before van Gogh had a breakdown, leading him to cut off his ear and be hospitalized.  Gauguin left Arles and never saw van Gogh again, but they continued to exchange letters and ideas. He briefly returned to Paris where he lived with painter Émile Schuffenecker, but returned to Pont-Aven in the spring of 1889 only to find it too crowded. Gauguin moved farther away "to escape the tourists and the Parisian and foreign painters" and arrived at Le Pouldu on October 2, 1889.  He found lodgings with Meijer de Haan at Buvette de la Plage, an inn run by Marie Henry. De Haan introduced Gauguin to Thomas Carlyle's novel Sartor Resartus (1836) by way of conversation.  Although he would not read the novel for several more years, Gauguin became acquainted with Carlyle's ideas which would influence his approach to art during this time.The interior of Marie Henry's inn became their canvas, and they painted their work on the walls, ceilings, and windows.  They were later joined by artists Paul Sérusier and Charles Filiger.  According to Nora M. Heimann, when the room was completed, it "encompassed paintings of every major type—genre, landscape, self-portraiture, portraiture, still life, and even history painting—in media ranging from tempera and oil on plaster to oil on canvas and panel; as well as prints and drawings; painted and glazed ceramic vessels; exotic found objects; and carved, polychromed figures in wood."Gauguin tried to win the affection of Marie Henry, the innkeeper, but she spurned his advances and became intimate with de Haan instead, leaving Gauguin jealous.  Gauguin departed on November 7, 1890, leaving his work at Marie Henry's inn. She retired in 1893 and moved to Kerfany, taking many of the art works with her.  She continued to lease the inn until 1911 when she sold it. When the new owner was redecorating the inn in 1924, which by then had been converted into a restaurant, the rest of the murals were discovered buried intact under wallpaper.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: Focus on Self-Portrait with Halo and Snake and explain the Development.

Van Gogh had previously decorated rooms with his paintings, in particular the rooms of several restaurants in Paris and the Yellow House in Arles.  Gauguin and de Haan appear to have been influenced by this work, as they began decorating the dining room of Buvette de la Plage in a similar fashion. Gauguin's Self-Portrait was prepared along with its pendant, Portrait of Jacob Meyer de Haan (1889),  to the right and left respectively of a fireplace on the upper panels of two wooden cupboard doors.  Gauguin gave the panels a subtle, textured matte surface using white chalk ground and a combed wave pattern.  Both works were completed sometime between mid-November and mid-December 1889.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: Explain the Development of this artwork, Self-Portrait with Halo and Snake.

Van Gogh had previously decorated rooms with his paintings, in particular the rooms of several restaurants in Paris and the Yellow House in Arles.  Gauguin and de Haan appear to have been influenced by this work, as they began decorating the dining room of Buvette de la Plage in a similar fashion. Gauguin's Self-Portrait was prepared along with its pendant, Portrait of Jacob Meyer de Haan (1889),  to the right and left respectively of a fireplace on the upper panels of two wooden cupboard doors.  Gauguin gave the panels a subtle, textured matte surface using white chalk ground and a combed wave pattern.  Both works were completed sometime between mid-November and mid-December 1889.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: How does Self-Portrait with Halo and Snake explain its Development?

Van Gogh had previously decorated rooms with his paintings, in particular the rooms of several restaurants in Paris and the Yellow House in Arles.  Gauguin and de Haan appear to have been influenced by this work, as they began decorating the dining room of Buvette de la Plage in a similar fashion. Gauguin's Self-Portrait was prepared along with its pendant, Portrait of Jacob Meyer de Haan (1889),  to the right and left respectively of a fireplace on the upper panels of two wooden cupboard doors.  Gauguin gave the panels a subtle, textured matte surface using white chalk ground and a combed wave pattern.  Both works were completed sometime between mid-November and mid-December 1889.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: In Self-Portrait with Halo and Snake, how is the Development discussed?

Van Gogh had previously decorated rooms with his paintings, in particular the rooms of several restaurants in Paris and the Yellow House in Arles.  Gauguin and de Haan appear to have been influenced by this work, as they began decorating the dining room of Buvette de la Plage in a similar fashion. Gauguin's Self-Portrait was prepared along with its pendant, Portrait of Jacob Meyer de Haan (1889),  to the right and left respectively of a fireplace on the upper panels of two wooden cupboard doors.  Gauguin gave the panels a subtle, textured matte surface using white chalk ground and a combed wave pattern.  Both works were completed sometime between mid-November and mid-December 1889.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: Focus on Self-Portrait with Halo and Snake and explain the Description.

French art historian Françoise Cachin notes that Gauguin designed both Self-Portrait with Halo and Snake and its companion piece Portrait of Jacob Meyer de Haan  as a caricature. In his Self-Portrat, Gauguin appears against a red background with a halo above his head and apples hanging beside him as he holds a snake in his hand with what appear to be either plants or flowers in the foreground.  Curator Philip Conisbee observes the religious symbolism in the images, noting that the "apples and snake refer to the Garden of Eden, temptation, sin, and the Fall of Man." Gauguin divides the canvas in half, painting himself as both saint and sinner, reflecting his own personal myth as an artist. In the top portion of the painting, Gauguin is almost angelic with the halo, looking away from the apples of temptation.  In the bottom portion, he holds the snake, completing the duality.Jirat-Wasiutyński notes that art historian Denys Sutton was the first critic to interpret Gauguin's self-portrait as "demonic". This interpretation is illustrated by the pendant, the companion piece  Portrait of Jacob Meyer de Haan (1889), which visually complements the Self-Portrait. De Haan's devilish eyes and red hair shaped like horns in his portrait on the left side of the dining room where it was created in situ, corresponds to the snake held in Gauguin's hand in his self-portrait on the right door of the dining room.  Two books appear on the table in de Haan's portrait: Paradise Lost (1667–74) by seventeenth-century English poet John Milton, and Sartor Resartus by Thomas Carlyle.  These respective literary allusions, to Milton's Satan and to Carlyle's Diogenes Teufelsdröckh, a character described as both angelic and diabolical, play directly into de Haan's and Gauguin's corresponding self-portraits. Jirat-Wasiutyński argues that Gauguin portrays himself as a magus, as  "both seer and demonic angel".The work shows the influence of Japanese wood-block prints and cloisonnism. In the painting, Gauguin wears what art historian Henri Dorra compares to the saffron colored robe of a Buddhist monk, perhaps influenced by Van Gogh's earlier Self-Portrait Dedicated to Paul Gauguin (1888).  In a letter to Gauguin dated October 3, 1888, Van Gogh describes himself in the self-portrait as "a character of a bonze, a simple worshiper of the eternal Buddha". Compared to Gauguin's more traditional Self-Portrait Dedicated to Carrière (1888 or 1889), the self-portrait painted at Le Pouldu is more "sinister".

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: Explain the Description of this artwork, Self-Portrait with Halo and Snake.

French art historian Françoise Cachin notes that Gauguin designed both Self-Portrait with Halo and Snake and its companion piece Portrait of Jacob Meyer de Haan  as a caricature. In his Self-Portrat, Gauguin appears against a red background with a halo above his head and apples hanging beside him as he holds a snake in his hand with what appear to be either plants or flowers in the foreground.  Curator Philip Conisbee observes the religious symbolism in the images, noting that the "apples and snake refer to the Garden of Eden, temptation, sin, and the Fall of Man." Gauguin divides the canvas in half, painting himself as both saint and sinner, reflecting his own personal myth as an artist. In the top portion of the painting, Gauguin is almost angelic with the halo, looking away from the apples of temptation.  In the bottom portion, he holds the snake, completing the duality.Jirat-Wasiutyński notes that art historian Denys Sutton was the first critic to interpret Gauguin's self-portrait as "demonic". This interpretation is illustrated by the pendant, the companion piece  Portrait of Jacob Meyer de Haan (1889), which visually complements the Self-Portrait. De Haan's devilish eyes and red hair shaped like horns in his portrait on the left side of the dining room where it was created in situ, corresponds to the snake held in Gauguin's hand in his self-portrait on the right door of the dining room.  Two books appear on the table in de Haan's portrait: Paradise Lost (1667–74) by seventeenth-century English poet John Milton, and Sartor Resartus by Thomas Carlyle.  These respective literary allusions, to Milton's Satan and to Carlyle's Diogenes Teufelsdröckh, a character described as both angelic and diabolical, play directly into de Haan's and Gauguin's corresponding self-portraits. Jirat-Wasiutyński argues that Gauguin portrays himself as a magus, as  "both seer and demonic angel".The work shows the influence of Japanese wood-block prints and cloisonnism. In the painting, Gauguin wears what art historian Henri Dorra compares to the saffron colored robe of a Buddhist monk, perhaps influenced by Van Gogh's earlier Self-Portrait Dedicated to Paul Gauguin (1888).  In a letter to Gauguin dated October 3, 1888, Van Gogh describes himself in the self-portrait as "a character of a bonze, a simple worshiper of the eternal Buddha". Compared to Gauguin's more traditional Self-Portrait Dedicated to Carrière (1888 or 1889), the self-portrait painted at Le Pouldu is more "sinister".

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: How does Self-Portrait with Halo and Snake explain its Description?

French art historian Françoise Cachin notes that Gauguin designed both Self-Portrait with Halo and Snake and its companion piece Portrait of Jacob Meyer de Haan  as a caricature. In his Self-Portrat, Gauguin appears against a red background with a halo above his head and apples hanging beside him as he holds a snake in his hand with what appear to be either plants or flowers in the foreground.  Curator Philip Conisbee observes the religious symbolism in the images, noting that the "apples and snake refer to the Garden of Eden, temptation, sin, and the Fall of Man." Gauguin divides the canvas in half, painting himself as both saint and sinner, reflecting his own personal myth as an artist. In the top portion of the painting, Gauguin is almost angelic with the halo, looking away from the apples of temptation.  In the bottom portion, he holds the snake, completing the duality.Jirat-Wasiutyński notes that art historian Denys Sutton was the first critic to interpret Gauguin's self-portrait as "demonic". This interpretation is illustrated by the pendant, the companion piece  Portrait of Jacob Meyer de Haan (1889), which visually complements the Self-Portrait. De Haan's devilish eyes and red hair shaped like horns in his portrait on the left side of the dining room where it was created in situ, corresponds to the snake held in Gauguin's hand in his self-portrait on the right door of the dining room.  Two books appear on the table in de Haan's portrait: Paradise Lost (1667–74) by seventeenth-century English poet John Milton, and Sartor Resartus by Thomas Carlyle.  These respective literary allusions, to Milton's Satan and to Carlyle's Diogenes Teufelsdröckh, a character described as both angelic and diabolical, play directly into de Haan's and Gauguin's corresponding self-portraits. Jirat-Wasiutyński argues that Gauguin portrays himself as a magus, as  "both seer and demonic angel".The work shows the influence of Japanese wood-block prints and cloisonnism. In the painting, Gauguin wears what art historian Henri Dorra compares to the saffron colored robe of a Buddhist monk, perhaps influenced by Van Gogh's earlier Self-Portrait Dedicated to Paul Gauguin (1888).  In a letter to Gauguin dated October 3, 1888, Van Gogh describes himself in the self-portrait as "a character of a bonze, a simple worshiper of the eternal Buddha". Compared to Gauguin's more traditional Self-Portrait Dedicated to Carrière (1888 or 1889), the self-portrait painted at Le Pouldu is more "sinister".

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: In Self-Portrait with Halo and Snake, how is the Description discussed?

French art historian Françoise Cachin notes that Gauguin designed both Self-Portrait with Halo and Snake and its companion piece Portrait of Jacob Meyer de Haan  as a caricature. In his Self-Portrat, Gauguin appears against a red background with a halo above his head and apples hanging beside him as he holds a snake in his hand with what appear to be either plants or flowers in the foreground.  Curator Philip Conisbee observes the religious symbolism in the images, noting that the "apples and snake refer to the Garden of Eden, temptation, sin, and the Fall of Man." Gauguin divides the canvas in half, painting himself as both saint and sinner, reflecting his own personal myth as an artist. In the top portion of the painting, Gauguin is almost angelic with the halo, looking away from the apples of temptation.  In the bottom portion, he holds the snake, completing the duality.Jirat-Wasiutyński notes that art historian Denys Sutton was the first critic to interpret Gauguin's self-portrait as "demonic". This interpretation is illustrated by the pendant, the companion piece  Portrait of Jacob Meyer de Haan (1889), which visually complements the Self-Portrait. De Haan's devilish eyes and red hair shaped like horns in his portrait on the left side of the dining room where it was created in situ, corresponds to the snake held in Gauguin's hand in his self-portrait on the right door of the dining room.  Two books appear on the table in de Haan's portrait: Paradise Lost (1667–74) by seventeenth-century English poet John Milton, and Sartor Resartus by Thomas Carlyle.  These respective literary allusions, to Milton's Satan and to Carlyle's Diogenes Teufelsdröckh, a character described as both angelic and diabolical, play directly into de Haan's and Gauguin's corresponding self-portraits. Jirat-Wasiutyński argues that Gauguin portrays himself as a magus, as  "both seer and demonic angel".The work shows the influence of Japanese wood-block prints and cloisonnism. In the painting, Gauguin wears what art historian Henri Dorra compares to the saffron colored robe of a Buddhist monk, perhaps influenced by Van Gogh's earlier Self-Portrait Dedicated to Paul Gauguin (1888).  In a letter to Gauguin dated October 3, 1888, Van Gogh describes himself in the self-portrait as "a character of a bonze, a simple worshiper of the eternal Buddha". Compared to Gauguin's more traditional Self-Portrait Dedicated to Carrière (1888 or 1889), the self-portrait painted at Le Pouldu is more "sinister".

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: Focus on Self-Portrait with Halo and Snake and explain the Provenance.

In 1919, Marie Henry sold Gauguin's Self-Portrait as part of a batch of 14 other works to François Norgelet for a total of 35,000 francs, where it was exhibited at the Galerie Barbazanges  in Paris. Although ownership details are scant, the painting is thought to have passed through the hands of several owners, including London art collector Mrs. R. A. Workman and later Lord Ivor Spencer-Churchill. It was sold by Churchill to the galleries Alex Reid and Lefèvre in 1923, who then sold it to Kraushaar Galleries in 1925. American banker Chester Dale acquired the work in 1928. The painting was later bequeathed by Dale to the National Gallery of Art in 1962 after his death.  The Chester Dale Collection opened at the National Gallery in 1965.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: Explain the Provenance of this artwork, Self-Portrait with Halo and Snake.

In 1919, Marie Henry sold Gauguin's Self-Portrait as part of a batch of 14 other works to François Norgelet for a total of 35,000 francs, where it was exhibited at the Galerie Barbazanges  in Paris. Although ownership details are scant, the painting is thought to have passed through the hands of several owners, including London art collector Mrs. R. A. Workman and later Lord Ivor Spencer-Churchill. It was sold by Churchill to the galleries Alex Reid and Lefèvre in 1923, who then sold it to Kraushaar Galleries in 1925. American banker Chester Dale acquired the work in 1928. The painting was later bequeathed by Dale to the National Gallery of Art in 1962 after his death.  The Chester Dale Collection opened at the National Gallery in 1965.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: How does Self-Portrait with Halo and Snake explain its Provenance?

In 1919, Marie Henry sold Gauguin's Self-Portrait as part of a batch of 14 other works to François Norgelet for a total of 35,000 francs, where it was exhibited at the Galerie Barbazanges  in Paris. Although ownership details are scant, the painting is thought to have passed through the hands of several owners, including London art collector Mrs. R. A. Workman and later Lord Ivor Spencer-Churchill. It was sold by Churchill to the galleries Alex Reid and Lefèvre in 1923, who then sold it to Kraushaar Galleries in 1925. American banker Chester Dale acquired the work in 1928. The painting was later bequeathed by Dale to the National Gallery of Art in 1962 after his death.  The Chester Dale Collection opened at the National Gallery in 1965.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Self-Portrait with Halo and Snake

Prompt: In Self-Portrait with Halo and Snake, how is the Provenance discussed?

In 1919, Marie Henry sold Gauguin's Self-Portrait as part of a batch of 14 other works to François Norgelet for a total of 35,000 francs, where it was exhibited at the Galerie Barbazanges  in Paris. Although ownership details are scant, the painting is thought to have passed through the hands of several owners, including London art collector Mrs. R. A. Workman and later Lord Ivor Spencer-Churchill. It was sold by Churchill to the galleries Alex Reid and Lefèvre in 1923, who then sold it to Kraushaar Galleries in 1925. American banker Chester Dale acquired the work in 1928. The painting was later bequeathed by Dale to the National Gallery of Art in 1962 after his death.  The Chester Dale Collection opened at the National Gallery in 1965.

''Portrait of Jacob Meyer de Haan'' (1889), a pendant to the ''Self-Portrait''

File:Van Gogh self-portrait dedicated to Gauguin.jpg

Category:Paintings in the National Gallery of Art

''Self-Portrait Dedicated to Carrière'' (1888 or 1889)


Prompt: Focus on Statue of Christopher Columbus (North End, Boston) and explain the abstract.

A statue of Christopher Columbus was installed in Christopher Columbus Waterfront Park, in Boston's North End, in the U.S. state of Massachusetts.  On June 11, 2020, the statue was removed for an undisclosed period after it was decapitated by protestors on the evening of June 9, 2020 during the George Floyd protests.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: Explain the abstract of this artwork, Statue of Christopher Columbus (North End, Boston).

A statue of Christopher Columbus was installed in Christopher Columbus Waterfront Park, in Boston's North End, in the U.S. state of Massachusetts.  On June 11, 2020, the statue was removed for an undisclosed period after it was decapitated by protestors on the evening of June 9, 2020 during the George Floyd protests.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: How does Statue of Christopher Columbus (North End, Boston) explain its abstract?

A statue of Christopher Columbus was installed in Christopher Columbus Waterfront Park, in Boston's North End, in the U.S. state of Massachusetts.  On June 11, 2020, the statue was removed for an undisclosed period after it was decapitated by protestors on the evening of June 9, 2020 during the George Floyd protests.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: In Statue of Christopher Columbus (North End, Boston), how is the abstract discussed?

A statue of Christopher Columbus was installed in Christopher Columbus Waterfront Park, in Boston's North End, in the U.S. state of Massachusetts.  On June 11, 2020, the statue was removed for an undisclosed period after it was decapitated by protestors on the evening of June 9, 2020 during the George Floyd protests.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: Focus on Statue of Christopher Columbus (North End, Boston) and explain the Background.

The Knights of Columbus, a Catholic organization dominated by Italian Americans, opened Waterfront Park in 1976. In 1979, pro-Vietnam War activist and building contractor Arthur Stivaletta commissioned the statue. The Knights accordingly changed the name of the park to Christopher Columbus Waterfront Park.The North End was a traditionally Italian neighborhood, and Columbus was a symbolic figure for Italian Americans in Boston as well as throughout the country. As early as 1900, George A. Scigliano had pushed to designate Columbus Day a holiday in Massachusetts. Conversely, other Catholics in Boston apparently did not appreciate the use of Columbus; in 1922, the Irish-American cardinal William Henry O'Connell removed a statue of Columbus from the Cathedral of the Holy Cross.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: Explain the Background of this artwork, Statue of Christopher Columbus (North End, Boston).

The Knights of Columbus, a Catholic organization dominated by Italian Americans, opened Waterfront Park in 1976. In 1979, pro-Vietnam War activist and building contractor Arthur Stivaletta commissioned the statue. The Knights accordingly changed the name of the park to Christopher Columbus Waterfront Park.The North End was a traditionally Italian neighborhood, and Columbus was a symbolic figure for Italian Americans in Boston as well as throughout the country. As early as 1900, George A. Scigliano had pushed to designate Columbus Day a holiday in Massachusetts. Conversely, other Catholics in Boston apparently did not appreciate the use of Columbus; in 1922, the Irish-American cardinal William Henry O'Connell removed a statue of Columbus from the Cathedral of the Holy Cross.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: How does Statue of Christopher Columbus (North End, Boston) explain its Background?

The Knights of Columbus, a Catholic organization dominated by Italian Americans, opened Waterfront Park in 1976. In 1979, pro-Vietnam War activist and building contractor Arthur Stivaletta commissioned the statue. The Knights accordingly changed the name of the park to Christopher Columbus Waterfront Park.The North End was a traditionally Italian neighborhood, and Columbus was a symbolic figure for Italian Americans in Boston as well as throughout the country. As early as 1900, George A. Scigliano had pushed to designate Columbus Day a holiday in Massachusetts. Conversely, other Catholics in Boston apparently did not appreciate the use of Columbus; in 1922, the Irish-American cardinal William Henry O'Connell removed a statue of Columbus from the Cathedral of the Holy Cross.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: In Statue of Christopher Columbus (North End, Boston), how is the Background discussed?

The Knights of Columbus, a Catholic organization dominated by Italian Americans, opened Waterfront Park in 1976. In 1979, pro-Vietnam War activist and building contractor Arthur Stivaletta commissioned the statue. The Knights accordingly changed the name of the park to Christopher Columbus Waterfront Park.The North End was a traditionally Italian neighborhood, and Columbus was a symbolic figure for Italian Americans in Boston as well as throughout the country. As early as 1900, George A. Scigliano had pushed to designate Columbus Day a holiday in Massachusetts. Conversely, other Catholics in Boston apparently did not appreciate the use of Columbus; in 1922, the Irish-American cardinal William Henry O'Connell removed a statue of Columbus from the Cathedral of the Holy Cross.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: Focus on Statue of Christopher Columbus (North End, Boston) and explain the Description.

The statue is made of marble imported from Carrara, an ancient quarry in Tuscany. The pedestal beneath it displays Stivaletta's name and the names of other prominent Italian Americans from the North End. It also names the Knights of Columbus and Order Sons of Italy in America.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: Explain the Description of this artwork, Statue of Christopher Columbus (North End, Boston).

The statue is made of marble imported from Carrara, an ancient quarry in Tuscany. The pedestal beneath it displays Stivaletta's name and the names of other prominent Italian Americans from the North End. It also names the Knights of Columbus and Order Sons of Italy in America.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: How does Statue of Christopher Columbus (North End, Boston) explain its Description?

The statue is made of marble imported from Carrara, an ancient quarry in Tuscany. The pedestal beneath it displays Stivaletta's name and the names of other prominent Italian Americans from the North End. It also names the Knights of Columbus and Order Sons of Italy in America.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: In Statue of Christopher Columbus (North End, Boston), how is the Description discussed?

The statue is made of marble imported from Carrara, an ancient quarry in Tuscany. The pedestal beneath it displays Stivaletta's name and the names of other prominent Italian Americans from the North End. It also names the Knights of Columbus and Order Sons of Italy in America.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: Focus on Statue of Christopher Columbus (North End, Boston) and explain the History.

The statue was dedicated on Columbus Day 1979, at a ceremony attended by Stivaletta, the Italian American community of Boston, Mayor Kevin White and former governor John Volpe. Shortly afterwards, on November 18, 1979, Stivaletta burned the flag of Iran in front of the statue. He presented to the audience of 200 spectators a man wearing a rubber devil mask, explaining that he was a caricature of the Ayatollah Khomeini. In December 1981, Stivaletta's organization Wake Up America burned the flag of the Soviet Union in front of the statue. Stivaletta remarked, “We stand here before Christopher Columbus, in a country founded by people looking for political and religious freedom … to show support for nations searching for freedom.”On Columbus Day 1982, the Friends of Christopher Columbus Park held a Catholic mass in front of the statue and laid a wreath on its pedestal. In 1999, the director of the Massachusetts Historical Society published an op-ed in the Boston Globe calling for the statue to be removed, noting that Boston has no historical connection to Christopher Columbus. He suggested restoring the park to commemorate its historical use as a fishing wharf.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: Explain the History of this artwork, Statue of Christopher Columbus (North End, Boston).

The statue was dedicated on Columbus Day 1979, at a ceremony attended by Stivaletta, the Italian American community of Boston, Mayor Kevin White and former governor John Volpe. Shortly afterwards, on November 18, 1979, Stivaletta burned the flag of Iran in front of the statue. He presented to the audience of 200 spectators a man wearing a rubber devil mask, explaining that he was a caricature of the Ayatollah Khomeini. In December 1981, Stivaletta's organization Wake Up America burned the flag of the Soviet Union in front of the statue. Stivaletta remarked, “We stand here before Christopher Columbus, in a country founded by people looking for political and religious freedom … to show support for nations searching for freedom.”On Columbus Day 1982, the Friends of Christopher Columbus Park held a Catholic mass in front of the statue and laid a wreath on its pedestal. In 1999, the director of the Massachusetts Historical Society published an op-ed in the Boston Globe calling for the statue to be removed, noting that Boston has no historical connection to Christopher Columbus. He suggested restoring the park to commemorate its historical use as a fishing wharf.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: How does Statue of Christopher Columbus (North End, Boston) explain its History?

The statue was dedicated on Columbus Day 1979, at a ceremony attended by Stivaletta, the Italian American community of Boston, Mayor Kevin White and former governor John Volpe. Shortly afterwards, on November 18, 1979, Stivaletta burned the flag of Iran in front of the statue. He presented to the audience of 200 spectators a man wearing a rubber devil mask, explaining that he was a caricature of the Ayatollah Khomeini. In December 1981, Stivaletta's organization Wake Up America burned the flag of the Soviet Union in front of the statue. Stivaletta remarked, “We stand here before Christopher Columbus, in a country founded by people looking for political and religious freedom … to show support for nations searching for freedom.”On Columbus Day 1982, the Friends of Christopher Columbus Park held a Catholic mass in front of the statue and laid a wreath on its pedestal. In 1999, the director of the Massachusetts Historical Society published an op-ed in the Boston Globe calling for the statue to be removed, noting that Boston has no historical connection to Christopher Columbus. He suggested restoring the park to commemorate its historical use as a fishing wharf.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: In Statue of Christopher Columbus (North End, Boston), how is the History discussed?

The statue was dedicated on Columbus Day 1979, at a ceremony attended by Stivaletta, the Italian American community of Boston, Mayor Kevin White and former governor John Volpe. Shortly afterwards, on November 18, 1979, Stivaletta burned the flag of Iran in front of the statue. He presented to the audience of 200 spectators a man wearing a rubber devil mask, explaining that he was a caricature of the Ayatollah Khomeini. In December 1981, Stivaletta's organization Wake Up America burned the flag of the Soviet Union in front of the statue. Stivaletta remarked, “We stand here before Christopher Columbus, in a country founded by people looking for political and religious freedom … to show support for nations searching for freedom.”On Columbus Day 1982, the Friends of Christopher Columbus Park held a Catholic mass in front of the statue and laid a wreath on its pedestal. In 1999, the director of the Massachusetts Historical Society published an op-ed in the Boston Globe calling for the statue to be removed, noting that Boston has no historical connection to Christopher Columbus. He suggested restoring the park to commemorate its historical use as a fishing wharf.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: In the context of Statue of Christopher Columbus (North End, Boston), explain the Vandalism and removal and the History.

In the 2000s, the statue suffered vandalism such as being spray painted with the word "murderer." In June 2006, the statue was decapitated in an apparent prank; the head was later located elsewhere in the North End. In 2004 and 2006, the statue was covered in red paint. After the latter incident an anti-colonialist manifesto was posted to the Independent Media Center website, taking responsibility for the act. In 2015, the white marble statue was vandalized with red paint and the phrase "Black Lives Matter."In June 2020, the statue was beheaded and subsequently removed. Mayor Marty Walsh announced that the statue would remain off display and that the city would "take time to assess the historic meaning of the statue." Its future was deemed uncertain after it was put in storage. An Italian American group in Massachusetts called for the statue to be removed, saying that "Columbus can't represent us as Italian Americans anymore."In October 2020, Mayor Walsh announced that the statue would be moved to a North Margin Street affordable housing development under construction by the Knights of Columbus. Walsh also announced that a sculpture “highlighting the Italian immigrants of the North End,” would take the place of the Columbus statue.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: Explain the Vandalism and removal about the History of this artwork, Statue of Christopher Columbus (North End, Boston).

In the 2000s, the statue suffered vandalism such as being spray painted with the word "murderer." In June 2006, the statue was decapitated in an apparent prank; the head was later located elsewhere in the North End. In 2004 and 2006, the statue was covered in red paint. After the latter incident an anti-colonialist manifesto was posted to the Independent Media Center website, taking responsibility for the act. In 2015, the white marble statue was vandalized with red paint and the phrase "Black Lives Matter."In June 2020, the statue was beheaded and subsequently removed. Mayor Marty Walsh announced that the statue would remain off display and that the city would "take time to assess the historic meaning of the statue." Its future was deemed uncertain after it was put in storage. An Italian American group in Massachusetts called for the statue to be removed, saying that "Columbus can't represent us as Italian Americans anymore."In October 2020, Mayor Walsh announced that the statue would be moved to a North Margin Street affordable housing development under construction by the Knights of Columbus. Walsh also announced that a sculpture “highlighting the Italian immigrants of the North End,” would take the place of the Columbus statue.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: In Statue of Christopher Columbus (North End, Boston), how is the Vandalism and removal of the History explained?

In the 2000s, the statue suffered vandalism such as being spray painted with the word "murderer." In June 2006, the statue was decapitated in an apparent prank; the head was later located elsewhere in the North End. In 2004 and 2006, the statue was covered in red paint. After the latter incident an anti-colonialist manifesto was posted to the Independent Media Center website, taking responsibility for the act. In 2015, the white marble statue was vandalized with red paint and the phrase "Black Lives Matter."In June 2020, the statue was beheaded and subsequently removed. Mayor Marty Walsh announced that the statue would remain off display and that the city would "take time to assess the historic meaning of the statue." Its future was deemed uncertain after it was put in storage. An Italian American group in Massachusetts called for the statue to be removed, saying that "Columbus can't represent us as Italian Americans anymore."In October 2020, Mayor Walsh announced that the statue would be moved to a North Margin Street affordable housing development under construction by the Knights of Columbus. Walsh also announced that a sculpture “highlighting the Italian immigrants of the North End,” would take the place of the Columbus statue.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Prompt: Describe the characteristics of the Vandalism and removal in Statue of Christopher Columbus (North End, Boston)'s History.

In the 2000s, the statue suffered vandalism such as being spray painted with the word "murderer." In June 2006, the statue was decapitated in an apparent prank; the head was later located elsewhere in the North End. In 2004 and 2006, the statue was covered in red paint. After the latter incident an anti-colonialist manifesto was posted to the Independent Media Center website, taking responsibility for the act. In 2015, the white marble statue was vandalized with red paint and the phrase "Black Lives Matter."In June 2020, the statue was beheaded and subsequently removed. Mayor Marty Walsh announced that the statue would remain off display and that the city would "take time to assess the historic meaning of the statue." Its future was deemed uncertain after it was put in storage. An Italian American group in Massachusetts called for the statue to be removed, saying that "Columbus can't represent us as Italian Americans anymore."In October 2020, Mayor Walsh announced that the statue would be moved to a North Margin Street affordable housing development under construction by the Knights of Columbus. Walsh also announced that a sculpture “highlighting the Italian immigrants of the North End,” would take the place of the Columbus statue.

Category:Monuments and memorials in Boston

Category:Relocated buildings and structures in Massachusetts

Category:1979 establishments in Massachusetts

Category:2020 disestablishments in Massachusetts

Category:Vandalized works of art in Massachusetts

Category:Marble sculptures in Massachusetts

List of monuments and memorials to Christopher Columbus

File:Christopher Columbus Park, Boston, P1000076.JPG

Category:Sculptures of men in Massachusetts

Category:Statues of Christopher Columbus

Category:Monuments and memorials in the United States removed during the George Floyd protests


Bramante Staircase

Prompt: Focus on Bramante Staircase and explain the abstract.

Bramante Staircase is the name given to two staircases in the Vatican Museums in the Vatican City State: the original stair, built in 1505, and a modern equivalent from 1932.

File:Bramante Staircase 3 (15614276112).jpg

File:Vatican Museums Spiral Staircase 2012.jpg

The modern 'Bramante' [[Stairway#Spiral and helical stairs

The original Bramante staircase, built in 1505

Category:Buildings and structures in Vatican City


Bramante Staircase

Prompt: Explain the abstract of this artwork, Bramante Staircase.

Bramante Staircase is the name given to two staircases in the Vatican Museums in the Vatican City State: the original stair, built in 1505, and a modern equivalent from 1932.

File:Bramante Staircase 3 (15614276112).jpg

File:Vatican Museums Spiral Staircase 2012.jpg

The modern 'Bramante' [[Stairway#Spiral and helical stairs

The original Bramante staircase, built in 1505

Category:Buildings and structures in Vatican City


Bramante Staircase

Prompt: How does Bramante Staircase explain its abstract?

Bramante Staircase is the name given to two staircases in the Vatican Museums in the Vatican City State: the original stair, built in 1505, and a modern equivalent from 1932.

File:Bramante Staircase 3 (15614276112).jpg

File:Vatican Museums Spiral Staircase 2012.jpg

The modern 'Bramante' [[Stairway#Spiral and helical stairs

The original Bramante staircase, built in 1505

Category:Buildings and structures in Vatican City


Bramante Staircase

Prompt: In Bramante Staircase, how is the abstract discussed?

Bramante Staircase is the name given to two staircases in the Vatican Museums in the Vatican City State: the original stair, built in 1505, and a modern equivalent from 1932.

File:Bramante Staircase 3 (15614276112).jpg

File:Vatican Museums Spiral Staircase 2012.jpg

The modern 'Bramante' [[Stairway#Spiral and helical stairs

The original Bramante staircase, built in 1505

Category:Buildings and structures in Vatican City


Bramante Staircase

Prompt: Focus on Bramante Staircase and explain the The original staircase.

The original Bramante staircase, in the Pio-Clementine Museum, was built in 1505 to a double helix design by Donato Bramante. It connects the Belvedere palace of Pope Innocent VIII to the outside and stands in a square tower of that building. The Bramante Staircase features granite Doric columns and a herringbone paving pattern, and was designed to allow people and pack animals to ascend and descend without interruption.The stair is cited as the inspiration for Antonio da Sangallo the Younger's design for the double helix passageway at the well of San Patrizio in Orvieto, to solve a similar logistical problem.   The staircase was built to allow Pope Julius II to enter his private residence while still in his carriage, since walking up the several flights in heavy papal vestments would have been onerous.It is not generally open to the public, though specialist tours do visit.

File:Bramante Staircase 3 (15614276112).jpg

File:Vatican Museums Spiral Staircase 2012.jpg

The modern 'Bramante' [[Stairway#Spiral and helical stairs

The original Bramante staircase, built in 1505

Category:Buildings and structures in Vatican City


Bramante Staircase

Prompt: Explain the The original staircase of this artwork, Bramante Staircase.

The original Bramante staircase, in the Pio-Clementine Museum, was built in 1505 to a double helix design by Donato Bramante. It connects the Belvedere palace of Pope Innocent VIII to the outside and stands in a square tower of that building. The Bramante Staircase features granite Doric columns and a herringbone paving pattern, and was designed to allow people and pack animals to ascend and descend without interruption.The stair is cited as the inspiration for Antonio da Sangallo the Younger's design for the double helix passageway at the well of San Patrizio in Orvieto, to solve a similar logistical problem.   The staircase was built to allow Pope Julius II to enter his private residence while still in his carriage, since walking up the several flights in heavy papal vestments would have been onerous.It is not generally open to the public, though specialist tours do visit.

File:Bramante Staircase 3 (15614276112).jpg

File:Vatican Museums Spiral Staircase 2012.jpg

The modern 'Bramante' [[Stairway#Spiral and helical stairs

The original Bramante staircase, built in 1505

Category:Buildings and structures in Vatican City


Bramante Staircase

Prompt: How does Bramante Staircase explain its The original staircase?

The original Bramante staircase, in the Pio-Clementine Museum, was built in 1505 to a double helix design by Donato Bramante. It connects the Belvedere palace of Pope Innocent VIII to the outside and stands in a square tower of that building. The Bramante Staircase features granite Doric columns and a herringbone paving pattern, and was designed to allow people and pack animals to ascend and descend without interruption.The stair is cited as the inspiration for Antonio da Sangallo the Younger's design for the double helix passageway at the well of San Patrizio in Orvieto, to solve a similar logistical problem.   The staircase was built to allow Pope Julius II to enter his private residence while still in his carriage, since walking up the several flights in heavy papal vestments would have been onerous.It is not generally open to the public, though specialist tours do visit.

File:Bramante Staircase 3 (15614276112).jpg

File:Vatican Museums Spiral Staircase 2012.jpg

The modern 'Bramante' [[Stairway#Spiral and helical stairs

The original Bramante staircase, built in 1505

Category:Buildings and structures in Vatican City


Bramante Staircase

Prompt: In Bramante Staircase, how is the The original staircase discussed?

The original Bramante staircase, in the Pio-Clementine Museum, was built in 1505 to a double helix design by Donato Bramante. It connects the Belvedere palace of Pope Innocent VIII to the outside and stands in a square tower of that building. The Bramante Staircase features granite Doric columns and a herringbone paving pattern, and was designed to allow people and pack animals to ascend and descend without interruption.The stair is cited as the inspiration for Antonio da Sangallo the Younger's design for the double helix passageway at the well of San Patrizio in Orvieto, to solve a similar logistical problem.   The staircase was built to allow Pope Julius II to enter his private residence while still in his carriage, since walking up the several flights in heavy papal vestments would have been onerous.It is not generally open to the public, though specialist tours do visit.

File:Bramante Staircase 3 (15614276112).jpg

File:Vatican Museums Spiral Staircase 2012.jpg

The modern 'Bramante' [[Stairway#Spiral and helical stairs

The original Bramante staircase, built in 1505

Category:Buildings and structures in Vatican City


Bramante Staircase

Prompt: Focus on Bramante Staircase and explain the The modern staircase.

The modern double helix staircase, also in the Pio-Clementine Museum, and commonly referred to as the "Bramante Staircase", was designed by Giuseppe Momo, sculpted by Antonio Maraini and realized by the Ferdinando Marinelli Artistic Foundry in 1932 and was inspired by the original Bramante Staircase.This staircase, like the original, is a double helix, having two staircases allowing people to ascend without meeting people descending; as with the original, the main purpose of this design is to allow uninterrupted traffic in each direction. It encircles the outer wall of a stairwell approximately fifteen meters wide and with a clear space at the centre. The balustrade around the ramp is of ornately worked metal. A canopy located above provides the necessary light to illuminate the stairs. The staircase is located at the end of the museum visit and all visitors leave by this route.Several architecture professors have speculated that Momo’s staircase (particularly the skylight and atrium, and the helical nature of the ramp and the technical aspects of its construction) was the inspiration for Frank Lloyd Wright’s design for the Solomon R. Guggenheim Museum in New York.

File:Bramante Staircase 3 (15614276112).jpg

File:Vatican Museums Spiral Staircase 2012.jpg

The modern 'Bramante' [[Stairway#Spiral and helical stairs

The original Bramante staircase, built in 1505

Category:Buildings and structures in Vatican City


Bramante Staircase

Prompt: Explain the The modern staircase of this artwork, Bramante Staircase.

The modern double helix staircase, also in the Pio-Clementine Museum, and commonly referred to as the "Bramante Staircase", was designed by Giuseppe Momo, sculpted by Antonio Maraini and realized by the Ferdinando Marinelli Artistic Foundry in 1932 and was inspired by the original Bramante Staircase.This staircase, like the original, is a double helix, having two staircases allowing people to ascend without meeting people descending; as with the original, the main purpose of this design is to allow uninterrupted traffic in each direction. It encircles the outer wall of a stairwell approximately fifteen meters wide and with a clear space at the centre. The balustrade around the ramp is of ornately worked metal. A canopy located above provides the necessary light to illuminate the stairs. The staircase is located at the end of the museum visit and all visitors leave by this route.Several architecture professors have speculated that Momo’s staircase (particularly the skylight and atrium, and the helical nature of the ramp and the technical aspects of its construction) was the inspiration for Frank Lloyd Wright’s design for the Solomon R. Guggenheim Museum in New York.

File:Bramante Staircase 3 (15614276112).jpg

File:Vatican Museums Spiral Staircase 2012.jpg

The modern 'Bramante' [[Stairway#Spiral and helical stairs

The original Bramante staircase, built in 1505

Category:Buildings and structures in Vatican City


Bramante Staircase

Prompt: How does Bramante Staircase explain its The modern staircase?

The modern double helix staircase, also in the Pio-Clementine Museum, and commonly referred to as the "Bramante Staircase", was designed by Giuseppe Momo, sculpted by Antonio Maraini and realized by the Ferdinando Marinelli Artistic Foundry in 1932 and was inspired by the original Bramante Staircase.This staircase, like the original, is a double helix, having two staircases allowing people to ascend without meeting people descending; as with the original, the main purpose of this design is to allow uninterrupted traffic in each direction. It encircles the outer wall of a stairwell approximately fifteen meters wide and with a clear space at the centre. The balustrade around the ramp is of ornately worked metal. A canopy located above provides the necessary light to illuminate the stairs. The staircase is located at the end of the museum visit and all visitors leave by this route.Several architecture professors have speculated that Momo’s staircase (particularly the skylight and atrium, and the helical nature of the ramp and the technical aspects of its construction) was the inspiration for Frank Lloyd Wright’s design for the Solomon R. Guggenheim Museum in New York.

File:Bramante Staircase 3 (15614276112).jpg

File:Vatican Museums Spiral Staircase 2012.jpg

The modern 'Bramante' [[Stairway#Spiral and helical stairs

The original Bramante staircase, built in 1505

Category:Buildings and structures in Vatican City


Bramante Staircase

Prompt: In Bramante Staircase, how is the The modern staircase discussed?

The modern double helix staircase, also in the Pio-Clementine Museum, and commonly referred to as the "Bramante Staircase", was designed by Giuseppe Momo, sculpted by Antonio Maraini and realized by the Ferdinando Marinelli Artistic Foundry in 1932 and was inspired by the original Bramante Staircase.This staircase, like the original, is a double helix, having two staircases allowing people to ascend without meeting people descending; as with the original, the main purpose of this design is to allow uninterrupted traffic in each direction. It encircles the outer wall of a stairwell approximately fifteen meters wide and with a clear space at the centre. The balustrade around the ramp is of ornately worked metal. A canopy located above provides the necessary light to illuminate the stairs. The staircase is located at the end of the museum visit and all visitors leave by this route.Several architecture professors have speculated that Momo’s staircase (particularly the skylight and atrium, and the helical nature of the ramp and the technical aspects of its construction) was the inspiration for Frank Lloyd Wright’s design for the Solomon R. Guggenheim Museum in New York.

File:Bramante Staircase 3 (15614276112).jpg

File:Vatican Museums Spiral Staircase 2012.jpg

The modern 'Bramante' [[Stairway#Spiral and helical stairs

The original Bramante staircase, built in 1505

Category:Buildings and structures in Vatican City


Bust of Cleopatra

Prompt: Focus on Bust of Cleopatra and explain the abstract.

The Bust of Cleopatra VII is a granite bust currently on display in the Gallery of Ancient Egypt at the Royal Ontario Museum (ROM). It is believed to have been discovered in Alexandria, Egypt at the site of Cleopatra's sunken palace on the island of Antirhodos. The bust was purchased by the ROM's founder Charles Trick Currelly while on expedition in Egypt in the early 20th Century.The Bust of Cleopatra VII can be found on Level 3 of the ROM in the Galleries of Africa: Egypt along with almost 2000 other Egyptian artifacts on display.

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: Explain the abstract of this artwork, Bust of Cleopatra.

The Bust of Cleopatra VII is a granite bust currently on display in the Gallery of Ancient Egypt at the Royal Ontario Museum (ROM). It is believed to have been discovered in Alexandria, Egypt at the site of Cleopatra's sunken palace on the island of Antirhodos. The bust was purchased by the ROM's founder Charles Trick Currelly while on expedition in Egypt in the early 20th Century.The Bust of Cleopatra VII can be found on Level 3 of the ROM in the Galleries of Africa: Egypt along with almost 2000 other Egyptian artifacts on display.

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: How does Bust of Cleopatra explain its abstract?

The Bust of Cleopatra VII is a granite bust currently on display in the Gallery of Ancient Egypt at the Royal Ontario Museum (ROM). It is believed to have been discovered in Alexandria, Egypt at the site of Cleopatra's sunken palace on the island of Antirhodos. The bust was purchased by the ROM's founder Charles Trick Currelly while on expedition in Egypt in the early 20th Century.The Bust of Cleopatra VII can be found on Level 3 of the ROM in the Galleries of Africa: Egypt along with almost 2000 other Egyptian artifacts on display.

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: In Bust of Cleopatra, how is the abstract discussed?

The Bust of Cleopatra VII is a granite bust currently on display in the Gallery of Ancient Egypt at the Royal Ontario Museum (ROM). It is believed to have been discovered in Alexandria, Egypt at the site of Cleopatra's sunken palace on the island of Antirhodos. The bust was purchased by the ROM's founder Charles Trick Currelly while on expedition in Egypt in the early 20th Century.The Bust of Cleopatra VII can be found on Level 3 of the ROM in the Galleries of Africa: Egypt along with almost 2000 other Egyptian artifacts on display.

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: In the context of Bust of Cleopatra, explain the 1960s and the Identification history.

Egyptologist: Bernard Von Bothmer of the Brooklyn Museum, was the first expert to attempt to identify the piece and published his findings in an exhibition catalogue from 1960. On the subject of identification of such statues, Von Bothmer said "each sculpture has to be judged by style, rather than by attributes and accoutrements."Neckline: Von Bothmer noted that "with exceptions, the thin garment indicated by the neckline is more common in early than in late Ptolemaic Sculpture."Facial Features:  When examining the features of the sculpted face, Von Bothmer was of the opinion "the expression is dry, bland, and non-committal." He felt as though "there is a mystery in the face, and the puzzling element is probably Hellenistic." Based on closer analysis, he thought that the piece ought to be "distinguished from more traditional sculptures of the early Ptolemaic Period."With no other previous scholarly literature available on the sculpture at the time, Von Bothmer concluded that: "If the date suggested (about 240-200 BC) is correct, we may have in this queen either Berenice II or Arsinoe III."

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: Explain the 1960s about the Identification history of this artwork, Bust of Cleopatra.

Egyptologist: Bernard Von Bothmer of the Brooklyn Museum, was the first expert to attempt to identify the piece and published his findings in an exhibition catalogue from 1960. On the subject of identification of such statues, Von Bothmer said "each sculpture has to be judged by style, rather than by attributes and accoutrements."Neckline: Von Bothmer noted that "with exceptions, the thin garment indicated by the neckline is more common in early than in late Ptolemaic Sculpture."Facial Features:  When examining the features of the sculpted face, Von Bothmer was of the opinion "the expression is dry, bland, and non-committal." He felt as though "there is a mystery in the face, and the puzzling element is probably Hellenistic." Based on closer analysis, he thought that the piece ought to be "distinguished from more traditional sculptures of the early Ptolemaic Period."With no other previous scholarly literature available on the sculpture at the time, Von Bothmer concluded that: "If the date suggested (about 240-200 BC) is correct, we may have in this queen either Berenice II or Arsinoe III."

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: In Bust of Cleopatra, how is the 1960s of the Identification history explained?

Egyptologist: Bernard Von Bothmer of the Brooklyn Museum, was the first expert to attempt to identify the piece and published his findings in an exhibition catalogue from 1960. On the subject of identification of such statues, Von Bothmer said "each sculpture has to be judged by style, rather than by attributes and accoutrements."Neckline: Von Bothmer noted that "with exceptions, the thin garment indicated by the neckline is more common in early than in late Ptolemaic Sculpture."Facial Features:  When examining the features of the sculpted face, Von Bothmer was of the opinion "the expression is dry, bland, and non-committal." He felt as though "there is a mystery in the face, and the puzzling element is probably Hellenistic." Based on closer analysis, he thought that the piece ought to be "distinguished from more traditional sculptures of the early Ptolemaic Period."With no other previous scholarly literature available on the sculpture at the time, Von Bothmer concluded that: "If the date suggested (about 240-200 BC) is correct, we may have in this queen either Berenice II or Arsinoe III."

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: Describe the characteristics of the 1960s in Bust of Cleopatra's Identification history.

Egyptologist: Bernard Von Bothmer of the Brooklyn Museum, was the first expert to attempt to identify the piece and published his findings in an exhibition catalogue from 1960. On the subject of identification of such statues, Von Bothmer said "each sculpture has to be judged by style, rather than by attributes and accoutrements."Neckline: Von Bothmer noted that "with exceptions, the thin garment indicated by the neckline is more common in early than in late Ptolemaic Sculpture."Facial Features:  When examining the features of the sculpted face, Von Bothmer was of the opinion "the expression is dry, bland, and non-committal." He felt as though "there is a mystery in the face, and the puzzling element is probably Hellenistic." Based on closer analysis, he thought that the piece ought to be "distinguished from more traditional sculptures of the early Ptolemaic Period."With no other previous scholarly literature available on the sculpture at the time, Von Bothmer concluded that: "If the date suggested (about 240-200 BC) is correct, we may have in this queen either Berenice II or Arsinoe III."

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: In the context of Bust of Cleopatra, explain the 1980s and the Identification history.

Robert S. Bianchi, also of the Brooklyn Museum, suggested the bust was either of a Queen or Goddess because "the appearance of the uraeus on the hair band is an attribute common to both." Bianchi thought a more precise identification would have been possible "had the annulets on the crown of the head been preserved."Neckline: Bianchi decided to focus on other sculpted features of the bust "for the chronological criteria." He made note of the "concave, raised neckline" on the statue and compared the features of the neckline with other Ptolemaic statues of women from the Musées royaux d'art et d'histoire in Brussels, Belgium (English: Royal Museums of Art and History) and the Yale University Art Gallery in New Haven, Connecticut. The statues Bianchi used to compare with the ROM's piece were both dated between 200-100 BC.Facial Features: Bianchi also identified the bust's time period using the sculpting style of the facial features. He noted "The face is modeled in broad planes without the addition of linear adjuncts, and the treatment of the eyes, with a creased upper lid which passes over the lower, recalls features common to sculptures assigned to 3rd and 2nd centuries BC."With this research, evidence began to suggest that the statue belonging to the ROM had different characteristics when compared with other Ptolemaic statues from the 240-200 BC period. Bianchi's research challenged the first commonly accepted identification of the statue by dating the fragment to between 200 and 100 BC, and by giving merit to the possibility that the statue in fact depicts a goddess

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: Explain the 1980s about the Identification history of this artwork, Bust of Cleopatra.

Robert S. Bianchi, also of the Brooklyn Museum, suggested the bust was either of a Queen or Goddess because "the appearance of the uraeus on the hair band is an attribute common to both." Bianchi thought a more precise identification would have been possible "had the annulets on the crown of the head been preserved."Neckline: Bianchi decided to focus on other sculpted features of the bust "for the chronological criteria." He made note of the "concave, raised neckline" on the statue and compared the features of the neckline with other Ptolemaic statues of women from the Musées royaux d'art et d'histoire in Brussels, Belgium (English: Royal Museums of Art and History) and the Yale University Art Gallery in New Haven, Connecticut. The statues Bianchi used to compare with the ROM's piece were both dated between 200-100 BC.Facial Features: Bianchi also identified the bust's time period using the sculpting style of the facial features. He noted "The face is modeled in broad planes without the addition of linear adjuncts, and the treatment of the eyes, with a creased upper lid which passes over the lower, recalls features common to sculptures assigned to 3rd and 2nd centuries BC."With this research, evidence began to suggest that the statue belonging to the ROM had different characteristics when compared with other Ptolemaic statues from the 240-200 BC period. Bianchi's research challenged the first commonly accepted identification of the statue by dating the fragment to between 200 and 100 BC, and by giving merit to the possibility that the statue in fact depicts a goddess

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum