Adoration of the Shepherds (Mantegna)

Prompt: How does Adoration of the Shepherds (Mantegna) explain its History?

This small painting is generally attributed to Mantegna's youth. It was likely commissioned by Borso d'Este during the artist's stay in Ferrara in 1450–1451.The work, originally on panel, was subsequently moved to canvas at an unknown date, losing a small section on the far right. It is perhaps mentioned in a 1586 inventory of Margherita Gonzaga d'Este's possessions as a "Prosepio de Andrea Mantegna" ("Nativity Scene of Andrea Mantegna"). By 1603 it was owned by Cardinal Pietro Aldobrandini, who kept it in the Villa Aldobrandini, and then it passed to his descendants. Later it was inherited by the Pamphilj, and then by the Borghese. In 1792 it was sold to the painter-dealer Alexander Day, who took it to London. William Buchanan sold it to Richard Payne Knight at Downton Castle, Herefordshire; his eventual heirs sold it to Joseph Duveen. In 1925 it was acquired from Duveen, New York, by Clarence Mackay; it was purchased for the Metropolitan Museum of Art by an anonymous donor.

Category:Paintings in the Metropolitan Museum of Art

Category:Adoration of the Shepherds in art


Adoration of the Shepherds (Mantegna)

Prompt: In Adoration of the Shepherds (Mantegna), how is the History discussed?

This small painting is generally attributed to Mantegna's youth. It was likely commissioned by Borso d'Este during the artist's stay in Ferrara in 1450–1451.The work, originally on panel, was subsequently moved to canvas at an unknown date, losing a small section on the far right. It is perhaps mentioned in a 1586 inventory of Margherita Gonzaga d'Este's possessions as a "Prosepio de Andrea Mantegna" ("Nativity Scene of Andrea Mantegna"). By 1603 it was owned by Cardinal Pietro Aldobrandini, who kept it in the Villa Aldobrandini, and then it passed to his descendants. Later it was inherited by the Pamphilj, and then by the Borghese. In 1792 it was sold to the painter-dealer Alexander Day, who took it to London. William Buchanan sold it to Richard Payne Knight at Downton Castle, Herefordshire; his eventual heirs sold it to Joseph Duveen. In 1925 it was acquired from Duveen, New York, by Clarence Mackay; it was purchased for the Metropolitan Museum of Art by an anonymous donor.

Category:Paintings in the Metropolitan Museum of Art

Category:Adoration of the Shepherds in art


Adoration of the Shepherds (Mantegna)

Prompt: Focus on Adoration of the Shepherds (Mantegna) and explain the Description.

The scene is set in an open space, with the Madonna in the middle, adoring the Child while kneeling on a stony area within a crumbling wall, while to her right St. Joseph is sleeping, and to her left two shepherds pray. St. Joseph's sleep may hint at his role as mere guardian of the Virgin and the Child. The blasted tree on which he leans has born fruit on a single branch; the usual interpretation of this traditional feature is of the mystic renewal of Nature under the new dispensation. Jesus' three-quarters depiction is typical of Mantegna's production. Twelve cherubs, borne on a cloud, surround the Virgin and cradle the Child.Behind the Virgin, to the left, are depicted boards of the ruinous stable in which Jesus was born, according to tradition. On the right is a wide landscape, framed by two steep mountains. Two other shepherds are represented in the right background, and a third on the road next to the river, each one met by an angel (bearing the news). A big tree somewhat resembling the Calvary Cross presages Jesus' Passion. There is also an ox, a traditional mute witness of the Nativity. Faint traces of the traditional ass may be glimpsed in the darkness within the stable doorway. The prominent gourd hanging on the wattle fence is a Christian symbol representing the Resurrection and also referring to pilgrimage.Several flaws in the perspective have induced scholars to assign this work to a date near that of the first frescoes executed by Mantegna in the Ovetari Chapel, in particular to the first scenes of the Life of St. James  (1448-1450). The attention to detail has been explained by the influence of the Flemish School, which Mantegna could study in the Este family collection, perhaps through a direct knowledge of Rogier van der Weyden. The grotesque portraits of the shepherds, such as their wrinkles and other realistic details, show the influence of northern European examples.

Category:Paintings in the Metropolitan Museum of Art

Category:Adoration of the Shepherds in art


Adoration of the Shepherds (Mantegna)

Prompt: Explain the Description of this artwork, Adoration of the Shepherds (Mantegna).

The scene is set in an open space, with the Madonna in the middle, adoring the Child while kneeling on a stony area within a crumbling wall, while to her right St. Joseph is sleeping, and to her left two shepherds pray. St. Joseph's sleep may hint at his role as mere guardian of the Virgin and the Child. The blasted tree on which he leans has born fruit on a single branch; the usual interpretation of this traditional feature is of the mystic renewal of Nature under the new dispensation. Jesus' three-quarters depiction is typical of Mantegna's production. Twelve cherubs, borne on a cloud, surround the Virgin and cradle the Child.Behind the Virgin, to the left, are depicted boards of the ruinous stable in which Jesus was born, according to tradition. On the right is a wide landscape, framed by two steep mountains. Two other shepherds are represented in the right background, and a third on the road next to the river, each one met by an angel (bearing the news). A big tree somewhat resembling the Calvary Cross presages Jesus' Passion. There is also an ox, a traditional mute witness of the Nativity. Faint traces of the traditional ass may be glimpsed in the darkness within the stable doorway. The prominent gourd hanging on the wattle fence is a Christian symbol representing the Resurrection and also referring to pilgrimage.Several flaws in the perspective have induced scholars to assign this work to a date near that of the first frescoes executed by Mantegna in the Ovetari Chapel, in particular to the first scenes of the Life of St. James  (1448-1450). The attention to detail has been explained by the influence of the Flemish School, which Mantegna could study in the Este family collection, perhaps through a direct knowledge of Rogier van der Weyden. The grotesque portraits of the shepherds, such as their wrinkles and other realistic details, show the influence of northern European examples.

Category:Paintings in the Metropolitan Museum of Art

Category:Adoration of the Shepherds in art


Adoration of the Shepherds (Mantegna)

Prompt: How does Adoration of the Shepherds (Mantegna) explain its Description?

The scene is set in an open space, with the Madonna in the middle, adoring the Child while kneeling on a stony area within a crumbling wall, while to her right St. Joseph is sleeping, and to her left two shepherds pray. St. Joseph's sleep may hint at his role as mere guardian of the Virgin and the Child. The blasted tree on which he leans has born fruit on a single branch; the usual interpretation of this traditional feature is of the mystic renewal of Nature under the new dispensation. Jesus' three-quarters depiction is typical of Mantegna's production. Twelve cherubs, borne on a cloud, surround the Virgin and cradle the Child.Behind the Virgin, to the left, are depicted boards of the ruinous stable in which Jesus was born, according to tradition. On the right is a wide landscape, framed by two steep mountains. Two other shepherds are represented in the right background, and a third on the road next to the river, each one met by an angel (bearing the news). A big tree somewhat resembling the Calvary Cross presages Jesus' Passion. There is also an ox, a traditional mute witness of the Nativity. Faint traces of the traditional ass may be glimpsed in the darkness within the stable doorway. The prominent gourd hanging on the wattle fence is a Christian symbol representing the Resurrection and also referring to pilgrimage.Several flaws in the perspective have induced scholars to assign this work to a date near that of the first frescoes executed by Mantegna in the Ovetari Chapel, in particular to the first scenes of the Life of St. James  (1448-1450). The attention to detail has been explained by the influence of the Flemish School, which Mantegna could study in the Este family collection, perhaps through a direct knowledge of Rogier van der Weyden. The grotesque portraits of the shepherds, such as their wrinkles and other realistic details, show the influence of northern European examples.

Category:Paintings in the Metropolitan Museum of Art

Category:Adoration of the Shepherds in art


Adoration of the Shepherds (Mantegna)

Prompt: In Adoration of the Shepherds (Mantegna), how is the Description discussed?

The scene is set in an open space, with the Madonna in the middle, adoring the Child while kneeling on a stony area within a crumbling wall, while to her right St. Joseph is sleeping, and to her left two shepherds pray. St. Joseph's sleep may hint at his role as mere guardian of the Virgin and the Child. The blasted tree on which he leans has born fruit on a single branch; the usual interpretation of this traditional feature is of the mystic renewal of Nature under the new dispensation. Jesus' three-quarters depiction is typical of Mantegna's production. Twelve cherubs, borne on a cloud, surround the Virgin and cradle the Child.Behind the Virgin, to the left, are depicted boards of the ruinous stable in which Jesus was born, according to tradition. On the right is a wide landscape, framed by two steep mountains. Two other shepherds are represented in the right background, and a third on the road next to the river, each one met by an angel (bearing the news). A big tree somewhat resembling the Calvary Cross presages Jesus' Passion. There is also an ox, a traditional mute witness of the Nativity. Faint traces of the traditional ass may be glimpsed in the darkness within the stable doorway. The prominent gourd hanging on the wattle fence is a Christian symbol representing the Resurrection and also referring to pilgrimage.Several flaws in the perspective have induced scholars to assign this work to a date near that of the first frescoes executed by Mantegna in the Ovetari Chapel, in particular to the first scenes of the Life of St. James  (1448-1450). The attention to detail has been explained by the influence of the Flemish School, which Mantegna could study in the Este family collection, perhaps through a direct knowledge of Rogier van der Weyden. The grotesque portraits of the shepherds, such as their wrinkles and other realistic details, show the influence of northern European examples.

Category:Paintings in the Metropolitan Museum of Art

Category:Adoration of the Shepherds in art


Typewriter Eraser, Scale X

Prompt: Focus on Typewriter Eraser, Scale X and explain the abstract.

Typewriter Eraser, Scale X is a sculpture of a large-scale typewriter eraser by Claes Oldenburg and Coosje van Bruggen.Constructed in 1999, this model is located at the National Gallery of Art Sculpture Garden.Other models are also located at Seattle Center near the Museum of Pop Culture, and CityCenter, Paradise. Typewriter Eraser, Scale X is on view at the Norton Museum of Art.

Category:National Gallery of Art Sculpture Garden

List of works by Oldenburg and van Bruggen

Category:Steel sculptures in Washington, D.C.

List of public art by Oldenburg and van Bruggen

Category:Fiberglass sculptures in the United States

List of public art in Washington, D.C., Ward 2

Category:Sculptures by Coosje van Bruggen

Category:Steel sculptures in Washington (state)


Typewriter Eraser, Scale X

Prompt: Explain the abstract of this artwork, Typewriter Eraser, Scale X.

Typewriter Eraser, Scale X is a sculpture of a large-scale typewriter eraser by Claes Oldenburg and Coosje van Bruggen.Constructed in 1999, this model is located at the National Gallery of Art Sculpture Garden.Other models are also located at Seattle Center near the Museum of Pop Culture, and CityCenter, Paradise. Typewriter Eraser, Scale X is on view at the Norton Museum of Art.

Category:National Gallery of Art Sculpture Garden

List of works by Oldenburg and van Bruggen

Category:Steel sculptures in Washington, D.C.

List of public art by Oldenburg and van Bruggen

Category:Fiberglass sculptures in the United States

List of public art in Washington, D.C., Ward 2

Category:Sculptures by Coosje van Bruggen

Category:Steel sculptures in Washington (state)


Typewriter Eraser, Scale X

Prompt: How does Typewriter Eraser, Scale X explain its abstract?

Typewriter Eraser, Scale X is a sculpture of a large-scale typewriter eraser by Claes Oldenburg and Coosje van Bruggen.Constructed in 1999, this model is located at the National Gallery of Art Sculpture Garden.Other models are also located at Seattle Center near the Museum of Pop Culture, and CityCenter, Paradise. Typewriter Eraser, Scale X is on view at the Norton Museum of Art.

Category:National Gallery of Art Sculpture Garden

List of works by Oldenburg and van Bruggen

Category:Steel sculptures in Washington, D.C.

List of public art by Oldenburg and van Bruggen

Category:Fiberglass sculptures in the United States

List of public art in Washington, D.C., Ward 2

Category:Sculptures by Coosje van Bruggen

Category:Steel sculptures in Washington (state)


Typewriter Eraser, Scale X

Prompt: In Typewriter Eraser, Scale X, how is the abstract discussed?

Typewriter Eraser, Scale X is a sculpture of a large-scale typewriter eraser by Claes Oldenburg and Coosje van Bruggen.Constructed in 1999, this model is located at the National Gallery of Art Sculpture Garden.Other models are also located at Seattle Center near the Museum of Pop Culture, and CityCenter, Paradise. Typewriter Eraser, Scale X is on view at the Norton Museum of Art.

Category:National Gallery of Art Sculpture Garden

List of works by Oldenburg and van Bruggen

Category:Steel sculptures in Washington, D.C.

List of public art by Oldenburg and van Bruggen

Category:Fiberglass sculptures in the United States

List of public art in Washington, D.C., Ward 2

Category:Sculptures by Coosje van Bruggen

Category:Steel sculptures in Washington (state)


Triumph of the Virtues (Mantegna)

Prompt: Focus on Triumph of the Virtues (Mantegna) and explain the abstract.

The Triumph of the Virtues (also known as Minerva Expelling the Vices from the Garden of Virtue) is a painting by the Italian Renaissance painter Andrea Mantegna, completed in 1502. It is housed in the Musée du Louvre of Paris.The triumph was the second picture painted by Mantegna for Isabella d'Este's studiolo (cabinet), after the Parnassus of 1497. It portrays a marsh enclosed by a tall fence, ruled over by the Vices, portrayed as hideous figures and identified by scrolls in a typically medieval way. Idleness is chased by Minerva, who is also rescuing Diana, goddess of chastity, from being raped by a Centaur, symbol of concupiscence. Next to Minerva is a tree with human features. High in the sky are the three primary moral virtues required to perfect the appetitive powers: Justice, Temperance and Fortitude.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists


Triumph of the Virtues (Mantegna)

Prompt: Explain the abstract of this artwork, Triumph of the Virtues (Mantegna).

The Triumph of the Virtues (also known as Minerva Expelling the Vices from the Garden of Virtue) is a painting by the Italian Renaissance painter Andrea Mantegna, completed in 1502. It is housed in the Musée du Louvre of Paris.The triumph was the second picture painted by Mantegna for Isabella d'Este's studiolo (cabinet), after the Parnassus of 1497. It portrays a marsh enclosed by a tall fence, ruled over by the Vices, portrayed as hideous figures and identified by scrolls in a typically medieval way. Idleness is chased by Minerva, who is also rescuing Diana, goddess of chastity, from being raped by a Centaur, symbol of concupiscence. Next to Minerva is a tree with human features. High in the sky are the three primary moral virtues required to perfect the appetitive powers: Justice, Temperance and Fortitude.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists


Triumph of the Virtues (Mantegna)

Prompt: How does Triumph of the Virtues (Mantegna) explain its abstract?

The Triumph of the Virtues (also known as Minerva Expelling the Vices from the Garden of Virtue) is a painting by the Italian Renaissance painter Andrea Mantegna, completed in 1502. It is housed in the Musée du Louvre of Paris.The triumph was the second picture painted by Mantegna for Isabella d'Este's studiolo (cabinet), after the Parnassus of 1497. It portrays a marsh enclosed by a tall fence, ruled over by the Vices, portrayed as hideous figures and identified by scrolls in a typically medieval way. Idleness is chased by Minerva, who is also rescuing Diana, goddess of chastity, from being raped by a Centaur, symbol of concupiscence. Next to Minerva is a tree with human features. High in the sky are the three primary moral virtues required to perfect the appetitive powers: Justice, Temperance and Fortitude.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists


Triumph of the Virtues (Mantegna)

Prompt: In Triumph of the Virtues (Mantegna), how is the abstract discussed?

The Triumph of the Virtues (also known as Minerva Expelling the Vices from the Garden of Virtue) is a painting by the Italian Renaissance painter Andrea Mantegna, completed in 1502. It is housed in the Musée du Louvre of Paris.The triumph was the second picture painted by Mantegna for Isabella d'Este's studiolo (cabinet), after the Parnassus of 1497. It portrays a marsh enclosed by a tall fence, ruled over by the Vices, portrayed as hideous figures and identified by scrolls in a typically medieval way. Idleness is chased by Minerva, who is also rescuing Diana, goddess of chastity, from being raped by a Centaur, symbol of concupiscence. Next to Minerva is a tree with human features. High in the sky are the three primary moral virtues required to perfect the appetitive powers: Justice, Temperance and Fortitude.

Allegory of Isabella d'Este's Coronation

Category:Paintings in the Louvre by Italian artists


Snow Flurry (design)

Prompt: Focus on Snow Flurry (design) and explain the abstract.

The Snow Flurry design was used by American artist Alexander Calder for at least seven mobiles between 1948 and 1959. A monumental design composed of white disks of varying sizes are connected on different branches and levels to reflect a snow flurry in Calder's distinct Modernist style.The 1950 mobile was famously owned by the Noyes family before its 2012 sale fetched over $10 million and made it the most expensive hanging mobile ever sold. This mobile is owned privately, while the 1955 Ráfaga de nieve mobile is a permanent fixture at the Central University of Venezuela, and the others are displayed in museums.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Explain the abstract of this artwork, Snow Flurry (design).

The Snow Flurry design was used by American artist Alexander Calder for at least seven mobiles between 1948 and 1959. A monumental design composed of white disks of varying sizes are connected on different branches and levels to reflect a snow flurry in Calder's distinct Modernist style.The 1950 mobile was famously owned by the Noyes family before its 2012 sale fetched over $10 million and made it the most expensive hanging mobile ever sold. This mobile is owned privately, while the 1955 Ráfaga de nieve mobile is a permanent fixture at the Central University of Venezuela, and the others are displayed in museums.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: How does Snow Flurry (design) explain its abstract?

The Snow Flurry design was used by American artist Alexander Calder for at least seven mobiles between 1948 and 1959. A monumental design composed of white disks of varying sizes are connected on different branches and levels to reflect a snow flurry in Calder's distinct Modernist style.The 1950 mobile was famously owned by the Noyes family before its 2012 sale fetched over $10 million and made it the most expensive hanging mobile ever sold. This mobile is owned privately, while the 1955 Ráfaga de nieve mobile is a permanent fixture at the Central University of Venezuela, and the others are displayed in museums.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In Snow Flurry (design), how is the abstract discussed?

The Snow Flurry design was used by American artist Alexander Calder for at least seven mobiles between 1948 and 1959. A monumental design composed of white disks of varying sizes are connected on different branches and levels to reflect a snow flurry in Calder's distinct Modernist style.The 1950 mobile was famously owned by the Noyes family before its 2012 sale fetched over $10 million and made it the most expensive hanging mobile ever sold. This mobile is owned privately, while the 1955 Ráfaga de nieve mobile is a permanent fixture at the Central University of Venezuela, and the others are displayed in museums.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Focus on Snow Flurry (design) and explain the Design.

The design, called a "cascade of white discs", is based on snowfall that artist Alexander Calder experienced from his home in Roxbury, Connecticut. It also bears similarities to Calder's 1946 Blizzard (Roxbury Flurry), which is considered a sister work. Another similar Calder mobile is the 1961 Nineteen White Discs. A New Statesman review says that the title Snow Flurry makes sense, but that on first sight it "looked ... like a great cabbage white, complete with proboscis, tendrils, aerials and those paned butterfly wings in every unadorned wire".The Modernist design comprises "a series of different sized, circular white discs delicately hanging from twig like wire branches, casting shadows ... and slowly turning". The mobiles are all "practically the same", using white painted sheet metal and dark metal wire. The sizes of the circular discs get smaller the further from the apex they are; the mobile is structured in a pyramid formation. As a whole, it can rotate a full 360 degrees, but the various branches are restricted as to how far they can turn independently. Described as "evocative" in a HuffPost review, the mobile is intended to move when breezes take it so "the flurries float like light snowflakes"; the movement and the shadows produced by the mobile add to the visual appeal.Talking about one of the Snow Flurry mobiles at the Beyeler Foundation in 2012, Calder's son said:You'll see that the movement of the mobile is gesture, of course, it's gesture before abstract expressionism. It is all about gesture. If you start to study the assembly of the sculpture, you see the white disks, the different scales [...] And if you start to follow it, it's almost like conducting a piece of music, Calder is very related to music. He is very related to rhythm, all his obsession with jazz, the harmonies of life and life cycles, the spirals, there are lots of spirals in this work.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Explain the Design of this artwork, Snow Flurry (design).

The design, called a "cascade of white discs", is based on snowfall that artist Alexander Calder experienced from his home in Roxbury, Connecticut. It also bears similarities to Calder's 1946 Blizzard (Roxbury Flurry), which is considered a sister work. Another similar Calder mobile is the 1961 Nineteen White Discs. A New Statesman review says that the title Snow Flurry makes sense, but that on first sight it "looked ... like a great cabbage white, complete with proboscis, tendrils, aerials and those paned butterfly wings in every unadorned wire".The Modernist design comprises "a series of different sized, circular white discs delicately hanging from twig like wire branches, casting shadows ... and slowly turning". The mobiles are all "practically the same", using white painted sheet metal and dark metal wire. The sizes of the circular discs get smaller the further from the apex they are; the mobile is structured in a pyramid formation. As a whole, it can rotate a full 360 degrees, but the various branches are restricted as to how far they can turn independently. Described as "evocative" in a HuffPost review, the mobile is intended to move when breezes take it so "the flurries float like light snowflakes"; the movement and the shadows produced by the mobile add to the visual appeal.Talking about one of the Snow Flurry mobiles at the Beyeler Foundation in 2012, Calder's son said:You'll see that the movement of the mobile is gesture, of course, it's gesture before abstract expressionism. It is all about gesture. If you start to study the assembly of the sculpture, you see the white disks, the different scales [...] And if you start to follow it, it's almost like conducting a piece of music, Calder is very related to music. He is very related to rhythm, all his obsession with jazz, the harmonies of life and life cycles, the spirals, there are lots of spirals in this work.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: How does Snow Flurry (design) explain its Design?

The design, called a "cascade of white discs", is based on snowfall that artist Alexander Calder experienced from his home in Roxbury, Connecticut. It also bears similarities to Calder's 1946 Blizzard (Roxbury Flurry), which is considered a sister work. Another similar Calder mobile is the 1961 Nineteen White Discs. A New Statesman review says that the title Snow Flurry makes sense, but that on first sight it "looked ... like a great cabbage white, complete with proboscis, tendrils, aerials and those paned butterfly wings in every unadorned wire".The Modernist design comprises "a series of different sized, circular white discs delicately hanging from twig like wire branches, casting shadows ... and slowly turning". The mobiles are all "practically the same", using white painted sheet metal and dark metal wire. The sizes of the circular discs get smaller the further from the apex they are; the mobile is structured in a pyramid formation. As a whole, it can rotate a full 360 degrees, but the various branches are restricted as to how far they can turn independently. Described as "evocative" in a HuffPost review, the mobile is intended to move when breezes take it so "the flurries float like light snowflakes"; the movement and the shadows produced by the mobile add to the visual appeal.Talking about one of the Snow Flurry mobiles at the Beyeler Foundation in 2012, Calder's son said:You'll see that the movement of the mobile is gesture, of course, it's gesture before abstract expressionism. It is all about gesture. If you start to study the assembly of the sculpture, you see the white disks, the different scales [...] And if you start to follow it, it's almost like conducting a piece of music, Calder is very related to music. He is very related to rhythm, all his obsession with jazz, the harmonies of life and life cycles, the spirals, there are lots of spirals in this work.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In Snow Flurry (design), how is the Design discussed?

The design, called a "cascade of white discs", is based on snowfall that artist Alexander Calder experienced from his home in Roxbury, Connecticut. It also bears similarities to Calder's 1946 Blizzard (Roxbury Flurry), which is considered a sister work. Another similar Calder mobile is the 1961 Nineteen White Discs. A New Statesman review says that the title Snow Flurry makes sense, but that on first sight it "looked ... like a great cabbage white, complete with proboscis, tendrils, aerials and those paned butterfly wings in every unadorned wire".The Modernist design comprises "a series of different sized, circular white discs delicately hanging from twig like wire branches, casting shadows ... and slowly turning". The mobiles are all "practically the same", using white painted sheet metal and dark metal wire. The sizes of the circular discs get smaller the further from the apex they are; the mobile is structured in a pyramid formation. As a whole, it can rotate a full 360 degrees, but the various branches are restricted as to how far they can turn independently. Described as "evocative" in a HuffPost review, the mobile is intended to move when breezes take it so "the flurries float like light snowflakes"; the movement and the shadows produced by the mobile add to the visual appeal.Talking about one of the Snow Flurry mobiles at the Beyeler Foundation in 2012, Calder's son said:You'll see that the movement of the mobile is gesture, of course, it's gesture before abstract expressionism. It is all about gesture. If you start to study the assembly of the sculpture, you see the white disks, the different scales [...] And if you start to follow it, it's almost like conducting a piece of music, Calder is very related to music. He is very related to rhythm, all his obsession with jazz, the harmonies of life and life cycles, the spirals, there are lots of spirals in this work.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In the context of Snow Flurry (design), explain the Snow Flurry, I and the Artworks.

Year: 1948Snow Flurry, I measures 238.7 cm × 208.8 cm and was gifted to the Museum of Modern Art (MoMA) by Calder in 1966. It was displayed at the Tate Modern in 2015, where curator Ann Coxon said that, based on the sculpture, "a sense of the natural world has also been important: [they were] looking at opening up some of the windows, getting a sense of the outside coming in". As of 2020, it is not displayed.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Explain the Snow Flurry, I about the Artworks of this artwork, Snow Flurry (design).

Year: 1948Snow Flurry, I measures 238.7 cm × 208.8 cm and was gifted to the Museum of Modern Art (MoMA) by Calder in 1966. It was displayed at the Tate Modern in 2015, where curator Ann Coxon said that, based on the sculpture, "a sense of the natural world has also been important: [they were] looking at opening up some of the windows, getting a sense of the outside coming in". As of 2020, it is not displayed.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In Snow Flurry (design), how is the Snow Flurry, I of the Artworks explained?

Year: 1948Snow Flurry, I measures 238.7 cm × 208.8 cm and was gifted to the Museum of Modern Art (MoMA) by Calder in 1966. It was displayed at the Tate Modern in 2015, where curator Ann Coxon said that, based on the sculpture, "a sense of the natural world has also been important: [they were] looking at opening up some of the windows, getting a sense of the outside coming in". As of 2020, it is not displayed.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Describe the characteristics of the Snow Flurry, I in Snow Flurry (design)'s Artworks.

Year: 1948Snow Flurry, I measures 238.7 cm × 208.8 cm and was gifted to the Museum of Modern Art (MoMA) by Calder in 1966. It was displayed at the Tate Modern in 2015, where curator Ann Coxon said that, based on the sculpture, "a sense of the natural world has also been important: [they were] looking at opening up some of the windows, getting a sense of the outside coming in". As of 2020, it is not displayed.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In the context of Snow Flurry (design), explain the Snow Flurry II and the Artworks.

Year: 1948The second of the 1948 collection is owned by the Museu de Arte Contemporânea da Universidade de São Paulo. It measures 185.4 cm × 205.7 cm.

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Explain the Snow Flurry II about the Artworks of this artwork, Snow Flurry (design).

Year: 1948The second of the 1948 collection is owned by the Museu de Arte Contemporânea da Universidade de São Paulo. It measures 185.4 cm × 205.7 cm.

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In Snow Flurry (design), how is the Snow Flurry II of the Artworks explained?

Year: 1948The second of the 1948 collection is owned by the Museu de Arte Contemporânea da Universidade de São Paulo. It measures 185.4 cm × 205.7 cm.

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Describe the characteristics of the Snow Flurry II in Snow Flurry (design)'s Artworks.

Year: 1948The second of the 1948 collection is owned by the Museu de Arte Contemporânea da Universidade de São Paulo. It measures 185.4 cm × 205.7 cm.

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In the context of Snow Flurry (design), explain the Snow Flurry III and the Artworks.

Year: 1948Snow Flurry III measures 134.6 cm × 228.6 cm and is owned by the Portland Museum of Art, given as an anonymous gift, where it is on the first floor of the Payson building. It was displayed on loan at the National Gallery of Victoria in 2019.At the Portland museum, it is said to be "one of the most beloved sculptures".

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Explain the Snow Flurry III about the Artworks of this artwork, Snow Flurry (design).

Year: 1948Snow Flurry III measures 134.6 cm × 228.6 cm and is owned by the Portland Museum of Art, given as an anonymous gift, where it is on the first floor of the Payson building. It was displayed on loan at the National Gallery of Victoria in 2019.At the Portland museum, it is said to be "one of the most beloved sculptures".

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In Snow Flurry (design), how is the Snow Flurry III of the Artworks explained?

Year: 1948Snow Flurry III measures 134.6 cm × 228.6 cm and is owned by the Portland Museum of Art, given as an anonymous gift, where it is on the first floor of the Payson building. It was displayed on loan at the National Gallery of Victoria in 2019.At the Portland museum, it is said to be "one of the most beloved sculptures".

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Describe the characteristics of the Snow Flurry III in Snow Flurry (design)'s Artworks.

Year: 1948Snow Flurry III measures 134.6 cm × 228.6 cm and is owned by the Portland Museum of Art, given as an anonymous gift, where it is on the first floor of the Payson building. It was displayed on loan at the National Gallery of Victoria in 2019.At the Portland museum, it is said to be "one of the most beloved sculptures".

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In the context of Snow Flurry (design), explain the Snow Flurry and the Artworks.

Year: 1950Measuring 152.4 cm × 213.4 cm, this piece is the best known variation.The 1950 sculpture was owned by Eliot Noyes, a close friend of Calder's, and then his family until 2012, when it was sold at Christie's; the saleroom created a catalog for Noyes' Calder pieces that capitalized on the connection to the owner as well as the artist. It achieved US$10,386,500, a record price for a Calder work and the most expensive hanging mobile ever sold at the time. Its original estimate was US$3.5–4.5 million. The new owner is also based in the United States.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Explain the Snow Flurry about the Artworks of this artwork, Snow Flurry (design).

Year: 1950Measuring 152.4 cm × 213.4 cm, this piece is the best known variation.The 1950 sculpture was owned by Eliot Noyes, a close friend of Calder's, and then his family until 2012, when it was sold at Christie's; the saleroom created a catalog for Noyes' Calder pieces that capitalized on the connection to the owner as well as the artist. It achieved US$10,386,500, a record price for a Calder work and the most expensive hanging mobile ever sold at the time. Its original estimate was US$3.5–4.5 million. The new owner is also based in the United States.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In Snow Flurry (design), how is the Snow Flurry of the Artworks explained?

Year: 1950Measuring 152.4 cm × 213.4 cm, this piece is the best known variation.The 1950 sculpture was owned by Eliot Noyes, a close friend of Calder's, and then his family until 2012, when it was sold at Christie's; the saleroom created a catalog for Noyes' Calder pieces that capitalized on the connection to the owner as well as the artist. It achieved US$10,386,500, a record price for a Calder work and the most expensive hanging mobile ever sold at the time. Its original estimate was US$3.5–4.5 million. The new owner is also based in the United States.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Describe the characteristics of the Snow Flurry in Snow Flurry (design)'s Artworks.

Year: 1950Measuring 152.4 cm × 213.4 cm, this piece is the best known variation.The 1950 sculpture was owned by Eliot Noyes, a close friend of Calder's, and then his family until 2012, when it was sold at Christie's; the saleroom created a catalog for Noyes' Calder pieces that capitalized on the connection to the owner as well as the artist. It achieved US$10,386,500, a record price for a Calder work and the most expensive hanging mobile ever sold at the time. Its original estimate was US$3.5–4.5 million. The new owner is also based in the United States.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In the context of Snow Flurry (design), explain the Snow Flurries and the Artworks.

Year: 1951The Snow Flurries mobile is 243.8 cm × 243.8 cm and is owned by the Museum of Contemporary Art, Chicago. In a review while on display at the Orange County Museum of Art, its "pure visual impact" was said to be "quite arresting". It has also been shown at the Nasher Museum of Art, where it took ten workers to hang it.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Explain the Snow Flurries about the Artworks of this artwork, Snow Flurry (design).

Year: 1951The Snow Flurries mobile is 243.8 cm × 243.8 cm and is owned by the Museum of Contemporary Art, Chicago. In a review while on display at the Orange County Museum of Art, its "pure visual impact" was said to be "quite arresting". It has also been shown at the Nasher Museum of Art, where it took ten workers to hang it.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In Snow Flurry (design), how is the Snow Flurries of the Artworks explained?

Year: 1951The Snow Flurries mobile is 243.8 cm × 243.8 cm and is owned by the Museum of Contemporary Art, Chicago. In a review while on display at the Orange County Museum of Art, its "pure visual impact" was said to be "quite arresting". It has also been shown at the Nasher Museum of Art, where it took ten workers to hang it.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Describe the characteristics of the Snow Flurries in Snow Flurry (design)'s Artworks.

Year: 1951The Snow Flurries mobile is 243.8 cm × 243.8 cm and is owned by the Museum of Contemporary Art, Chicago. In a review while on display at the Orange County Museum of Art, its "pure visual impact" was said to be "quite arresting". It has also been shown at the Nasher Museum of Art, where it took ten workers to hang it.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In the context of Snow Flurry (design), explain the Ráfaga de nieve and the Artworks.

Year: 1955The version at the Central University of Venezuela, titled in Spanish, is 320 cm × 250 cm.The Venezuelan architect and designer Carlos Raúl Villanueva began designing the University City of Caracas campus in the 1940s, beginning construction in the 1950s in a time of prevailing Modernism in Latin America. Villanueva hired many artists from around the world to contribute works to the campus, including Calder, who contributed four pieces; Ráfaga de nieve, a monumental acoustic sculpture called the Floating Clouds, and two stabiles.The mobile was first restored in 1983, and restored again in 2013; its location allows strong air currents to damage it over time while also making it difficult to clean. Restoration involved consultation with the Calder Foundation, and each piece was documented and labeled before it was dismantled and removed. A geometric analysis of the mobile suggested that in some formations it shows Fibonacci patterns in its layout.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Explain the Ráfaga de nieve about the Artworks of this artwork, Snow Flurry (design).

Year: 1955The version at the Central University of Venezuela, titled in Spanish, is 320 cm × 250 cm.The Venezuelan architect and designer Carlos Raúl Villanueva began designing the University City of Caracas campus in the 1940s, beginning construction in the 1950s in a time of prevailing Modernism in Latin America. Villanueva hired many artists from around the world to contribute works to the campus, including Calder, who contributed four pieces; Ráfaga de nieve, a monumental acoustic sculpture called the Floating Clouds, and two stabiles.The mobile was first restored in 1983, and restored again in 2013; its location allows strong air currents to damage it over time while also making it difficult to clean. Restoration involved consultation with the Calder Foundation, and each piece was documented and labeled before it was dismantled and removed. A geometric analysis of the mobile suggested that in some formations it shows Fibonacci patterns in its layout.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In Snow Flurry (design), how is the Ráfaga de nieve of the Artworks explained?

Year: 1955The version at the Central University of Venezuela, titled in Spanish, is 320 cm × 250 cm.The Venezuelan architect and designer Carlos Raúl Villanueva began designing the University City of Caracas campus in the 1940s, beginning construction in the 1950s in a time of prevailing Modernism in Latin America. Villanueva hired many artists from around the world to contribute works to the campus, including Calder, who contributed four pieces; Ráfaga de nieve, a monumental acoustic sculpture called the Floating Clouds, and two stabiles.The mobile was first restored in 1983, and restored again in 2013; its location allows strong air currents to damage it over time while also making it difficult to clean. Restoration involved consultation with the Calder Foundation, and each piece was documented and labeled before it was dismantled and removed. A geometric analysis of the mobile suggested that in some formations it shows Fibonacci patterns in its layout.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Describe the characteristics of the Ráfaga de nieve in Snow Flurry (design)'s Artworks.

Year: 1955The version at the Central University of Venezuela, titled in Spanish, is 320 cm × 250 cm.The Venezuelan architect and designer Carlos Raúl Villanueva began designing the University City of Caracas campus in the 1940s, beginning construction in the 1950s in a time of prevailing Modernism in Latin America. Villanueva hired many artists from around the world to contribute works to the campus, including Calder, who contributed four pieces; Ráfaga de nieve, a monumental acoustic sculpture called the Floating Clouds, and two stabiles.The mobile was first restored in 1983, and restored again in 2013; its location allows strong air currents to damage it over time while also making it difficult to clean. Restoration involved consultation with the Calder Foundation, and each piece was documented and labeled before it was dismantled and removed. A geometric analysis of the mobile suggested that in some formations it shows Fibonacci patterns in its layout.

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In the context of Snow Flurry (design), explain the Snow Flurry, May 14 and the Artworks.

Year: 1959This mobile is 243.84 cm × 426.72 cm, and is owned and displayed in the Denver Art Museum, having been purchased for US$500,000 in 1997. It was loaned to a display at Denver Botanic Gardens in summer 2017. It was first displayed at the Tate Gallery London in 1962, specifically lent by Calder. After display in the Tate exhibition it was lent for display to Leeds City Art Gallery who were in the process of negotiating an acquisition for the collection, through the Leeds Art Collections Fund, eventually buying the work Chicago Black. A contemporary report wrote that: "After an exhilarating correspondence we are greatly indebted to Mr. Calder for lending one of his finest mobiles called Snow Flurry—it was in the exhibition—for hanging in the vestibule at the Art Gallery. When it eventually has to be taken down and returned to America, a feeling of discontent is bound to descend also, this time on staff and visitors alike."

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Explain the Snow Flurry, May 14 about the Artworks of this artwork, Snow Flurry (design).

Year: 1959This mobile is 243.84 cm × 426.72 cm, and is owned and displayed in the Denver Art Museum, having been purchased for US$500,000 in 1997. It was loaned to a display at Denver Botanic Gardens in summer 2017. It was first displayed at the Tate Gallery London in 1962, specifically lent by Calder. After display in the Tate exhibition it was lent for display to Leeds City Art Gallery who were in the process of negotiating an acquisition for the collection, through the Leeds Art Collections Fund, eventually buying the work Chicago Black. A contemporary report wrote that: "After an exhilarating correspondence we are greatly indebted to Mr. Calder for lending one of his finest mobiles called Snow Flurry—it was in the exhibition—for hanging in the vestibule at the Art Gallery. When it eventually has to be taken down and returned to America, a feeling of discontent is bound to descend also, this time on staff and visitors alike."

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: In Snow Flurry (design), how is the Snow Flurry, May 14 of the Artworks explained?

Year: 1959This mobile is 243.84 cm × 426.72 cm, and is owned and displayed in the Denver Art Museum, having been purchased for US$500,000 in 1997. It was loaned to a display at Denver Botanic Gardens in summer 2017. It was first displayed at the Tate Gallery London in 1962, specifically lent by Calder. After display in the Tate exhibition it was lent for display to Leeds City Art Gallery who were in the process of negotiating an acquisition for the collection, through the Leeds Art Collections Fund, eventually buying the work Chicago Black. A contemporary report wrote that: "After an exhilarating correspondence we are greatly indebted to Mr. Calder for lending one of his finest mobiles called Snow Flurry—it was in the exhibition—for hanging in the vestibule at the Art Gallery. When it eventually has to be taken down and returned to America, a feeling of discontent is bound to descend also, this time on staff and visitors alike."

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Snow Flurry (design)

Prompt: Describe the characteristics of the Snow Flurry, May 14 in Snow Flurry (design)'s Artworks.

Year: 1959This mobile is 243.84 cm × 426.72 cm, and is owned and displayed in the Denver Art Museum, having been purchased for US$500,000 in 1997. It was loaned to a display at Denver Botanic Gardens in summer 2017. It was first displayed at the Tate Gallery London in 1962, specifically lent by Calder. After display in the Tate exhibition it was lent for display to Leeds City Art Gallery who were in the process of negotiating an acquisition for the collection, through the Leeds Art Collections Fund, eventually buying the work Chicago Black. A contemporary report wrote that: "After an exhilarating correspondence we are greatly indebted to Mr. Calder for lending one of his finest mobiles called Snow Flurry—it was in the exhibition—for hanging in the vestibule at the Art Gallery. When it eventually has to be taken down and returned to America, a feeling of discontent is bound to descend also, this time on staff and visitors alike."

Museu de Arte Contemporânea da Universidade de São Paulo

The ''Ráfaga de nieve'' overhangs a balcony in the [[Central University of Venezuela

Museum of Contemporary Art, University of São Paulo

List of artworks in University City of Caracas#Alexander Calder

his entry in the list of campus artworks


Cestello Annunciation

Prompt: Focus on Cestello Annunciation and explain the abstract.

The Cestello Annunciation is a tempera painting on panel made in 1489 by the Italian Renaissance master Sandro Botticelli. It was painted for the patron Benedetto di Ser Giovanni Guardi to adorn the church of the Florentine monastery of Cestello, which is now known as Santa Maria Maddalena de'Pazzi.The subject of the painting is the Annunciation, in which the Archangel Gabriel visits the Virgin Mary to 'announce' to her (hence 'Annunciation') that she has been chosen by God to bear the Christ child should she accept this invitation. Her 'fiat' (Let it be done to me) is the Annunciation. If She had said no, there would be no Redemption for mankind. Underneath the painting on its original frame are words in Latin from St. Luke's Gospel 1:35: "The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee."The subject of the Annunciation is common in Christian art and has been depicted by many artists, in multiple formats, and in different time periods. In addition to the Cestello Annunciation, Botticelli also painted a 1485 Annunciation now in the Metropolitan Museum of Art and a 1495-1500 version now housed in the Kelvingrove Art Gallery and Museum.

Category:Paintings by Sandro Botticelli in the Uffizi


Cestello Annunciation

Prompt: Explain the abstract of this artwork, Cestello Annunciation.

The Cestello Annunciation is a tempera painting on panel made in 1489 by the Italian Renaissance master Sandro Botticelli. It was painted for the patron Benedetto di Ser Giovanni Guardi to adorn the church of the Florentine monastery of Cestello, which is now known as Santa Maria Maddalena de'Pazzi.The subject of the painting is the Annunciation, in which the Archangel Gabriel visits the Virgin Mary to 'announce' to her (hence 'Annunciation') that she has been chosen by God to bear the Christ child should she accept this invitation. Her 'fiat' (Let it be done to me) is the Annunciation. If She had said no, there would be no Redemption for mankind. Underneath the painting on its original frame are words in Latin from St. Luke's Gospel 1:35: "The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee."The subject of the Annunciation is common in Christian art and has been depicted by many artists, in multiple formats, and in different time periods. In addition to the Cestello Annunciation, Botticelli also painted a 1485 Annunciation now in the Metropolitan Museum of Art and a 1495-1500 version now housed in the Kelvingrove Art Gallery and Museum.

Category:Paintings by Sandro Botticelli in the Uffizi


Cestello Annunciation

Prompt: How does Cestello Annunciation explain its abstract?

The Cestello Annunciation is a tempera painting on panel made in 1489 by the Italian Renaissance master Sandro Botticelli. It was painted for the patron Benedetto di Ser Giovanni Guardi to adorn the church of the Florentine monastery of Cestello, which is now known as Santa Maria Maddalena de'Pazzi.The subject of the painting is the Annunciation, in which the Archangel Gabriel visits the Virgin Mary to 'announce' to her (hence 'Annunciation') that she has been chosen by God to bear the Christ child should she accept this invitation. Her 'fiat' (Let it be done to me) is the Annunciation. If She had said no, there would be no Redemption for mankind. Underneath the painting on its original frame are words in Latin from St. Luke's Gospel 1:35: "The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee."The subject of the Annunciation is common in Christian art and has been depicted by many artists, in multiple formats, and in different time periods. In addition to the Cestello Annunciation, Botticelli also painted a 1485 Annunciation now in the Metropolitan Museum of Art and a 1495-1500 version now housed in the Kelvingrove Art Gallery and Museum.

Category:Paintings by Sandro Botticelli in the Uffizi


Cestello Annunciation

Prompt: In Cestello Annunciation, how is the abstract discussed?

The Cestello Annunciation is a tempera painting on panel made in 1489 by the Italian Renaissance master Sandro Botticelli. It was painted for the patron Benedetto di Ser Giovanni Guardi to adorn the church of the Florentine monastery of Cestello, which is now known as Santa Maria Maddalena de'Pazzi.The subject of the painting is the Annunciation, in which the Archangel Gabriel visits the Virgin Mary to 'announce' to her (hence 'Annunciation') that she has been chosen by God to bear the Christ child should she accept this invitation. Her 'fiat' (Let it be done to me) is the Annunciation. If She had said no, there would be no Redemption for mankind. Underneath the painting on its original frame are words in Latin from St. Luke's Gospel 1:35: "The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee."The subject of the Annunciation is common in Christian art and has been depicted by many artists, in multiple formats, and in different time periods. In addition to the Cestello Annunciation, Botticelli also painted a 1485 Annunciation now in the Metropolitan Museum of Art and a 1495-1500 version now housed in the Kelvingrove Art Gallery and Museum.

Category:Paintings by Sandro Botticelli in the Uffizi


Brera Madonna

Prompt: Focus on Brera Madonna and explain the abstract.

The Brera Madonna (also known as the Pala di Brera, the Montefeltro Altarpiece or Brera Altarpiece) is a painting by the Italian Renaissance master Piero della Francesca, executed in 1472–1474. It is housed in the Pinacoteca di Brera of Milan, where it was deposited by Napoleon.The work, of a type known as a sacra conversazione, was commissioned by Federico III da Montefeltro, Duke of Urbino, to celebrate the birth of Federico's son, Guidobaldo. According to other sources, it would celebrate his conquest of several castles in the Maremma.

Category:Paintings in the Pinacoteca di Brera

Oriental carpets in Renaissance painting

Category:Paintings by Piero della Francesca

Fra Carnevale (Bartolomeo di Giovanni Corradini)

Category:Paintings of the Madonna and Child


Brera Madonna

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

The Brera Madonna (also known as the Pala di Brera, the Montefeltro Altarpiece or Brera Altarpiece) is a painting by the Italian Renaissance master Piero della Francesca, executed in 1472–1474. It is housed in the Pinacoteca di Brera of Milan, where it was deposited by Napoleon.The work, of a type known as a sacra conversazione, was commissioned by Federico III da Montefeltro, Duke of Urbino, to celebrate the birth of Federico's son, Guidobaldo. According to other sources, it would celebrate his conquest of several castles in the Maremma.

Category:Paintings in the Pinacoteca di Brera

Oriental carpets in Renaissance painting

Category:Paintings by Piero della Francesca

Fra Carnevale (Bartolomeo di Giovanni Corradini)

Category:Paintings of the Madonna and Child


Brera Madonna

Prompt: How does Brera Madonna explain its abstract?

The Brera Madonna (also known as the Pala di Brera, the Montefeltro Altarpiece or Brera Altarpiece) is a painting by the Italian Renaissance master Piero della Francesca, executed in 1472–1474. It is housed in the Pinacoteca di Brera of Milan, where it was deposited by Napoleon.The work, of a type known as a sacra conversazione, was commissioned by Federico III da Montefeltro, Duke of Urbino, to celebrate the birth of Federico's son, Guidobaldo. According to other sources, it would celebrate his conquest of several castles in the Maremma.

Category:Paintings in the Pinacoteca di Brera

Oriental carpets in Renaissance painting

Category:Paintings by Piero della Francesca

Fra Carnevale (Bartolomeo di Giovanni Corradini)

Category:Paintings of the Madonna and Child


Brera Madonna

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

The Brera Madonna (also known as the Pala di Brera, the Montefeltro Altarpiece or Brera Altarpiece) is a painting by the Italian Renaissance master Piero della Francesca, executed in 1472–1474. It is housed in the Pinacoteca di Brera of Milan, where it was deposited by Napoleon.The work, of a type known as a sacra conversazione, was commissioned by Federico III da Montefeltro, Duke of Urbino, to celebrate the birth of Federico's son, Guidobaldo. According to other sources, it would celebrate his conquest of several castles in the Maremma.

Category:Paintings in the Pinacoteca di Brera

Oriental carpets in Renaissance painting

Category:Paintings by Piero della Francesca

Fra Carnevale (Bartolomeo di Giovanni Corradini)

Category:Paintings of the Madonna and Child


Brera Madonna

Prompt: Focus on Brera Madonna and explain the Dating.

The painting was executed between 1472 and 1474; the terminus ante quem is established by the absence from Federico's figure of the insignia of the Order of the Garter, which he received in the later year. When it was rediscovered at the Brera at the end of the 19th century, the painting was so disfigured by darkened varnish it was attributed to Fra Carnevale (Bartolomeo di Giovanni Corradini), as Piero's use of oil technique was not yet known.Some sources suggest that the work was commissioned to celebrate the birth of Federico's son, Guidobaldo, who was born in 1472. According to this hypothesis, the Child could represent Guidobaldo, while the Virgin may have the appearance of Battista Sforza, Federico's wife, who died in the same year and was buried at San Bernardino.

Category:Paintings in the Pinacoteca di Brera

Oriental carpets in Renaissance painting

Category:Paintings by Piero della Francesca

Category:Paintings of the Madonna and Child


Brera Madonna

Prompt: Explain the Dating of this artwork, Brera Madonna.

The painting was executed between 1472 and 1474; the terminus ante quem is established by the absence from Federico's figure of the insignia of the Order of the Garter, which he received in the later year. When it was rediscovered at the Brera at the end of the 19th century, the painting was so disfigured by darkened varnish it was attributed to Fra Carnevale (Bartolomeo di Giovanni Corradini), as Piero's use of oil technique was not yet known.Some sources suggest that the work was commissioned to celebrate the birth of Federico's son, Guidobaldo, who was born in 1472. According to this hypothesis, the Child could represent Guidobaldo, while the Virgin may have the appearance of Battista Sforza, Federico's wife, who died in the same year and was buried at San Bernardino.

Category:Paintings in the Pinacoteca di Brera

Oriental carpets in Renaissance painting

Category:Paintings by Piero della Francesca

Category:Paintings of the Madonna and Child


Brera Madonna

Prompt: How does Brera Madonna explain its Dating?

The painting was executed between 1472 and 1474; the terminus ante quem is established by the absence from Federico's figure of the insignia of the Order of the Garter, which he received in the later year. When it was rediscovered at the Brera at the end of the 19th century, the painting was so disfigured by darkened varnish it was attributed to Fra Carnevale (Bartolomeo di Giovanni Corradini), as Piero's use of oil technique was not yet known.Some sources suggest that the work was commissioned to celebrate the birth of Federico's son, Guidobaldo, who was born in 1472. According to this hypothesis, the Child could represent Guidobaldo, while the Virgin may have the appearance of Battista Sforza, Federico's wife, who died in the same year and was buried at San Bernardino.

Category:Paintings in the Pinacoteca di Brera

Oriental carpets in Renaissance painting

Category:Paintings by Piero della Francesca

Category:Paintings of the Madonna and Child


Brera Madonna

Prompt: In Brera Madonna, how is the Dating discussed?

The painting was executed between 1472 and 1474; the terminus ante quem is established by the absence from Federico's figure of the insignia of the Order of the Garter, which he received in the later year. When it was rediscovered at the Brera at the end of the 19th century, the painting was so disfigured by darkened varnish it was attributed to Fra Carnevale (Bartolomeo di Giovanni Corradini), as Piero's use of oil technique was not yet known.Some sources suggest that the work was commissioned to celebrate the birth of Federico's son, Guidobaldo, who was born in 1472. According to this hypothesis, the Child could represent Guidobaldo, while the Virgin may have the appearance of Battista Sforza, Federico's wife, who died in the same year and was buried at San Bernardino.

Category:Paintings in the Pinacoteca di Brera

Oriental carpets in Renaissance painting

Category:Paintings by Piero della Francesca

Category:Paintings of the Madonna and Child


Brera Madonna

Prompt: Focus on Brera Madonna and explain the Description.

The work represents a sacred conversation, with the Virgin enthroned and the sleeping Child in the middle, surrounded by a host of angels and saints. On the right low corner, kneeling and wearing his armor, the patron of arts, duke and condottiero Federico da Montefeltro. Federico's choice of wearing armor had not been observed in other donor paintings of the past century. The donning of armor here signifies his military prowess and devotion to protect his faith, a new concept for presenting in armor when in a holy presence. The background consists of the apse of a church in Renaissance classical style, which is rendered in such meticulous perspective that the feigned depth of the coffer-vaulted apse at the rear can be calculated. At the center, hanging by a thread from the apse shell is an egg, emblem alike of Mary's fecundity and the promise of regeneration and immortality.The Child wears a necklace of deep red coral beads, a color which alludes to blood, a symbol of life and death, but also to the redemption brought by Christ. Coral was also used for teething, and often worn by babies.  The saints at the left of the Madonna are generally identified as John the Baptist, Bernardino of Siena (dedicatee of the painting's original location) and Jerome; on the right would be Francis, Peter Martyr and Andrew. In the last figure, the Italian historian Ricci has identified a portrait of Luca Pacioli, a mathematician born in Sansepolcro like Piero della Francesca. The presence of John the Baptist would be explained as he was the patron saint of Federico's wife, while St. Jerome was the protector of Humanists. Francis, finally, would be present as the painting was originally thought for the Franciscan church of San Donato degli Osservanti, where Federico was later buried.Modern cleaning has revealed the great detail in characters' clothes, the angels' jewels, Federico's reflective armor and the oriental carpet beneath the feet of the Virgin, reflecting the influence of Early Netherlandish painting.The apse ends with a shell semi-dome from which an ostrich egg is hanging. The shell was a symbol of the new Venus, Mary (in fact it is perpendicular to her head) and of eternal beauty. According to another hypothesis, the egg would be a pearl, and the shell would refer to the miracle of the virginal conception (the shell generates the pearl without any male intervention). The egg is generally considered a symbol of the Creation and, in particular, to Guidobaldo's birth; the ostrich was also one of the heraldic symbols of the Montefeltro family.According to Italian art historian Carlo Ludovico Ragghianti, the work has been cut down on both sides, as shown by the portions of entablatures barely visible in the upper corners.

Category:Paintings in the Pinacoteca di Brera

Oriental carpets in Renaissance painting

Category:Paintings by Piero della Francesca

Fra Carnevale (Bartolomeo di Giovanni Corradini)

Category:Paintings of the Madonna and Child


Brera Madonna

Prompt: Explain the Description of this artwork, Brera Madonna.

The work represents a sacred conversation, with the Virgin enthroned and the sleeping Child in the middle, surrounded by a host of angels and saints. On the right low corner, kneeling and wearing his armor, the patron of arts, duke and condottiero Federico da Montefeltro. Federico's choice of wearing armor had not been observed in other donor paintings of the past century. The donning of armor here signifies his military prowess and devotion to protect his faith, a new concept for presenting in armor when in a holy presence. The background consists of the apse of a church in Renaissance classical style, which is rendered in such meticulous perspective that the feigned depth of the coffer-vaulted apse at the rear can be calculated. At the center, hanging by a thread from the apse shell is an egg, emblem alike of Mary's fecundity and the promise of regeneration and immortality.The Child wears a necklace of deep red coral beads, a color which alludes to blood, a symbol of life and death, but also to the redemption brought by Christ. Coral was also used for teething, and often worn by babies.  The saints at the left of the Madonna are generally identified as John the Baptist, Bernardino of Siena (dedicatee of the painting's original location) and Jerome; on the right would be Francis, Peter Martyr and Andrew. In the last figure, the Italian historian Ricci has identified a portrait of Luca Pacioli, a mathematician born in Sansepolcro like Piero della Francesca. The presence of John the Baptist would be explained as he was the patron saint of Federico's wife, while St. Jerome was the protector of Humanists. Francis, finally, would be present as the painting was originally thought for the Franciscan church of San Donato degli Osservanti, where Federico was later buried.Modern cleaning has revealed the great detail in characters' clothes, the angels' jewels, Federico's reflective armor and the oriental carpet beneath the feet of the Virgin, reflecting the influence of Early Netherlandish painting.The apse ends with a shell semi-dome from which an ostrich egg is hanging. The shell was a symbol of the new Venus, Mary (in fact it is perpendicular to her head) and of eternal beauty. According to another hypothesis, the egg would be a pearl, and the shell would refer to the miracle of the virginal conception (the shell generates the pearl without any male intervention). The egg is generally considered a symbol of the Creation and, in particular, to Guidobaldo's birth; the ostrich was also one of the heraldic symbols of the Montefeltro family.According to Italian art historian Carlo Ludovico Ragghianti, the work has been cut down on both sides, as shown by the portions of entablatures barely visible in the upper corners.

Category:Paintings in the Pinacoteca di Brera

Oriental carpets in Renaissance painting

Category:Paintings by Piero della Francesca

Fra Carnevale (Bartolomeo di Giovanni Corradini)

Category:Paintings of the Madonna and Child


Brera Madonna

Prompt: How does Brera Madonna explain its Description?

The work represents a sacred conversation, with the Virgin enthroned and the sleeping Child in the middle, surrounded by a host of angels and saints. On the right low corner, kneeling and wearing his armor, the patron of arts, duke and condottiero Federico da Montefeltro. Federico's choice of wearing armor had not been observed in other donor paintings of the past century. The donning of armor here signifies his military prowess and devotion to protect his faith, a new concept for presenting in armor when in a holy presence. The background consists of the apse of a church in Renaissance classical style, which is rendered in such meticulous perspective that the feigned depth of the coffer-vaulted apse at the rear can be calculated. At the center, hanging by a thread from the apse shell is an egg, emblem alike of Mary's fecundity and the promise of regeneration and immortality.The Child wears a necklace of deep red coral beads, a color which alludes to blood, a symbol of life and death, but also to the redemption brought by Christ. Coral was also used for teething, and often worn by babies.  The saints at the left of the Madonna are generally identified as John the Baptist, Bernardino of Siena (dedicatee of the painting's original location) and Jerome; on the right would be Francis, Peter Martyr and Andrew. In the last figure, the Italian historian Ricci has identified a portrait of Luca Pacioli, a mathematician born in Sansepolcro like Piero della Francesca. The presence of John the Baptist would be explained as he was the patron saint of Federico's wife, while St. Jerome was the protector of Humanists. Francis, finally, would be present as the painting was originally thought for the Franciscan church of San Donato degli Osservanti, where Federico was later buried.Modern cleaning has revealed the great detail in characters' clothes, the angels' jewels, Federico's reflective armor and the oriental carpet beneath the feet of the Virgin, reflecting the influence of Early Netherlandish painting.The apse ends with a shell semi-dome from which an ostrich egg is hanging. The shell was a symbol of the new Venus, Mary (in fact it is perpendicular to her head) and of eternal beauty. According to another hypothesis, the egg would be a pearl, and the shell would refer to the miracle of the virginal conception (the shell generates the pearl without any male intervention). The egg is generally considered a symbol of the Creation and, in particular, to Guidobaldo's birth; the ostrich was also one of the heraldic symbols of the Montefeltro family.According to Italian art historian Carlo Ludovico Ragghianti, the work has been cut down on both sides, as shown by the portions of entablatures barely visible in the upper corners.

Category:Paintings in the Pinacoteca di Brera

Oriental carpets in Renaissance painting

Category:Paintings by Piero della Francesca

Fra Carnevale (Bartolomeo di Giovanni Corradini)

Category:Paintings of the Madonna and Child


Brera Madonna

Prompt: In Brera Madonna, how is the Description discussed?

The work represents a sacred conversation, with the Virgin enthroned and the sleeping Child in the middle, surrounded by a host of angels and saints. On the right low corner, kneeling and wearing his armor, the patron of arts, duke and condottiero Federico da Montefeltro. Federico's choice of wearing armor had not been observed in other donor paintings of the past century. The donning of armor here signifies his military prowess and devotion to protect his faith, a new concept for presenting in armor when in a holy presence. The background consists of the apse of a church in Renaissance classical style, which is rendered in such meticulous perspective that the feigned depth of the coffer-vaulted apse at the rear can be calculated. At the center, hanging by a thread from the apse shell is an egg, emblem alike of Mary's fecundity and the promise of regeneration and immortality.The Child wears a necklace of deep red coral beads, a color which alludes to blood, a symbol of life and death, but also to the redemption brought by Christ. Coral was also used for teething, and often worn by babies.  The saints at the left of the Madonna are generally identified as John the Baptist, Bernardino of Siena (dedicatee of the painting's original location) and Jerome; on the right would be Francis, Peter Martyr and Andrew. In the last figure, the Italian historian Ricci has identified a portrait of Luca Pacioli, a mathematician born in Sansepolcro like Piero della Francesca. The presence of John the Baptist would be explained as he was the patron saint of Federico's wife, while St. Jerome was the protector of Humanists. Francis, finally, would be present as the painting was originally thought for the Franciscan church of San Donato degli Osservanti, where Federico was later buried.Modern cleaning has revealed the great detail in characters' clothes, the angels' jewels, Federico's reflective armor and the oriental carpet beneath the feet of the Virgin, reflecting the influence of Early Netherlandish painting.The apse ends with a shell semi-dome from which an ostrich egg is hanging. The shell was a symbol of the new Venus, Mary (in fact it is perpendicular to her head) and of eternal beauty. According to another hypothesis, the egg would be a pearl, and the shell would refer to the miracle of the virginal conception (the shell generates the pearl without any male intervention). The egg is generally considered a symbol of the Creation and, in particular, to Guidobaldo's birth; the ostrich was also one of the heraldic symbols of the Montefeltro family.According to Italian art historian Carlo Ludovico Ragghianti, the work has been cut down on both sides, as shown by the portions of entablatures barely visible in the upper corners.

Category:Paintings in the Pinacoteca di Brera

Oriental carpets in Renaissance painting

Category:Paintings by Piero della Francesca

Fra Carnevale (Bartolomeo di Giovanni Corradini)

Category:Paintings of the Madonna and Child


Vault (sculpture)

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

Vault (popularly known as The Yellow Peril) is a public sculpture located in Southbank, Melbourne, Victoria, Australia.  The work of sculptor Ron Robertson-Swann, Vault  is an abstract, minimalist sculpture built of large thick flat polygonal sheets of prefabricated steel, assembled in a way that suggests dynamic movement. It is painted yellow.Presently located outside the Australian Centre for Contemporary Art, it is a key work in Melbourne's public art collection, and of considerable historical importance to the city.Vault has weathered much controversy throughout its existence.  Commissioned by the Melbourne City Council after winning a competition in May 1978, for the newly built Melbourne City Square, the sculpture was not even built before it began to attract criticism from certain media and council factions, on the grounds that its modern form was felt to be unsympathetic to the location.  The cost of $70,000 was also felt to be excessive.The sculpture had no official name for over two years, and acquired a number of nicknames during this time.  Robertson-Swann himself called it The Thing.  The steelworkers who constructed it called it Steelhenge.  Newspapers gave it the derogatory nickname The Yellow Peril, a name which has stuck.  Robertson-Swann eventually officially named the sculpture Vault in September 1980.Installed in the City Square for its opening in May 1980, the Melbourne City Council voted to remove it only three months later. The controversy was one of many issues that led to the State Government's sacking of the City Council in December 1980.  The Builders Labourers Federation announced they would ban any attempts to move it.In July 1981, Vault was finally dismantled and re-erected at Batman Park, a much less prominent part of the city. It remained there until 2002 when it was moved to a position outside the Australian Centre for Contemporary Art in Southbank.Following a heritage study of the Southbank area in 2017, the sculpture was recommended for heritage protection through inclusion in the City of Melbourne Planning Scheme Heritage Overlay, which was applied in 2020. In May 2024 it was proposed for listing at the State level on the Victorian Heritage Register.Vault's design has inspired many built and propositional architectural projects in Melbourne. Several of Denton Corker Marshall's works have "adopted peril's yellow almost as a point of pride and solidarity", while its form has been referenced in some works by ARM Architecture (Ashton Raggatt McDougall), including Storey Hall (1996) on Swanston Street. Vault is also referenced in the yellow origami-like bases of tram stops in the Melbourne city centre, and the yellow sculptural work of the Eastlink freeway's Melbourne International Gateway. Other Melbourne buildings that incorporate references to Vault include the Adelphi Hotel on Flinders Lane and St Jude's Church in Carlton.

Category:Outdoor sculptures in Melbourne

Category:Buildings and structures in the City of Melbourne (LGA)

Category:1980 establishments in Australia

Category:Tourist attractions in Melbourne

Category:Victorian Heritage Register Greater Melbourne (region)


Vault (sculpture)

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

Vault (popularly known as The Yellow Peril) is a public sculpture located in Southbank, Melbourne, Victoria, Australia.  The work of sculptor Ron Robertson-Swann, Vault  is an abstract, minimalist sculpture built of large thick flat polygonal sheets of prefabricated steel, assembled in a way that suggests dynamic movement. It is painted yellow.Presently located outside the Australian Centre for Contemporary Art, it is a key work in Melbourne's public art collection, and of considerable historical importance to the city.Vault has weathered much controversy throughout its existence.  Commissioned by the Melbourne City Council after winning a competition in May 1978, for the newly built Melbourne City Square, the sculpture was not even built before it began to attract criticism from certain media and council factions, on the grounds that its modern form was felt to be unsympathetic to the location.  The cost of $70,000 was also felt to be excessive.The sculpture had no official name for over two years, and acquired a number of nicknames during this time.  Robertson-Swann himself called it The Thing.  The steelworkers who constructed it called it Steelhenge.  Newspapers gave it the derogatory nickname The Yellow Peril, a name which has stuck.  Robertson-Swann eventually officially named the sculpture Vault in September 1980.Installed in the City Square for its opening in May 1980, the Melbourne City Council voted to remove it only three months later. The controversy was one of many issues that led to the State Government's sacking of the City Council in December 1980.  The Builders Labourers Federation announced they would ban any attempts to move it.In July 1981, Vault was finally dismantled and re-erected at Batman Park, a much less prominent part of the city. It remained there until 2002 when it was moved to a position outside the Australian Centre for Contemporary Art in Southbank.Following a heritage study of the Southbank area in 2017, the sculpture was recommended for heritage protection through inclusion in the City of Melbourne Planning Scheme Heritage Overlay, which was applied in 2020. In May 2024 it was proposed for listing at the State level on the Victorian Heritage Register.Vault's design has inspired many built and propositional architectural projects in Melbourne. Several of Denton Corker Marshall's works have "adopted peril's yellow almost as a point of pride and solidarity", while its form has been referenced in some works by ARM Architecture (Ashton Raggatt McDougall), including Storey Hall (1996) on Swanston Street. Vault is also referenced in the yellow origami-like bases of tram stops in the Melbourne city centre, and the yellow sculptural work of the Eastlink freeway's Melbourne International Gateway. Other Melbourne buildings that incorporate references to Vault include the Adelphi Hotel on Flinders Lane and St Jude's Church in Carlton.

Category:Outdoor sculptures in Melbourne

Category:Buildings and structures in the City of Melbourne (LGA)

Category:1980 establishments in Australia

Category:Tourist attractions in Melbourne

Category:Victorian Heritage Register Greater Melbourne (region)


Vault (sculpture)

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

Vault (popularly known as The Yellow Peril) is a public sculpture located in Southbank, Melbourne, Victoria, Australia.  The work of sculptor Ron Robertson-Swann, Vault  is an abstract, minimalist sculpture built of large thick flat polygonal sheets of prefabricated steel, assembled in a way that suggests dynamic movement. It is painted yellow.Presently located outside the Australian Centre for Contemporary Art, it is a key work in Melbourne's public art collection, and of considerable historical importance to the city.Vault has weathered much controversy throughout its existence.  Commissioned by the Melbourne City Council after winning a competition in May 1978, for the newly built Melbourne City Square, the sculpture was not even built before it began to attract criticism from certain media and council factions, on the grounds that its modern form was felt to be unsympathetic to the location.  The cost of $70,000 was also felt to be excessive.The sculpture had no official name for over two years, and acquired a number of nicknames during this time.  Robertson-Swann himself called it The Thing.  The steelworkers who constructed it called it Steelhenge.  Newspapers gave it the derogatory nickname The Yellow Peril, a name which has stuck.  Robertson-Swann eventually officially named the sculpture Vault in September 1980.Installed in the City Square for its opening in May 1980, the Melbourne City Council voted to remove it only three months later. The controversy was one of many issues that led to the State Government's sacking of the City Council in December 1980.  The Builders Labourers Federation announced they would ban any attempts to move it.In July 1981, Vault was finally dismantled and re-erected at Batman Park, a much less prominent part of the city. It remained there until 2002 when it was moved to a position outside the Australian Centre for Contemporary Art in Southbank.Following a heritage study of the Southbank area in 2017, the sculpture was recommended for heritage protection through inclusion in the City of Melbourne Planning Scheme Heritage Overlay, which was applied in 2020. In May 2024 it was proposed for listing at the State level on the Victorian Heritage Register.Vault's design has inspired many built and propositional architectural projects in Melbourne. Several of Denton Corker Marshall's works have "adopted peril's yellow almost as a point of pride and solidarity", while its form has been referenced in some works by ARM Architecture (Ashton Raggatt McDougall), including Storey Hall (1996) on Swanston Street. Vault is also referenced in the yellow origami-like bases of tram stops in the Melbourne city centre, and the yellow sculptural work of the Eastlink freeway's Melbourne International Gateway. Other Melbourne buildings that incorporate references to Vault include the Adelphi Hotel on Flinders Lane and St Jude's Church in Carlton.

Category:Outdoor sculptures in Melbourne

Category:Buildings and structures in the City of Melbourne (LGA)

Category:1980 establishments in Australia

Category:Tourist attractions in Melbourne

Category:Victorian Heritage Register Greater Melbourne (region)


Vault (sculpture)

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

Vault (popularly known as The Yellow Peril) is a public sculpture located in Southbank, Melbourne, Victoria, Australia.  The work of sculptor Ron Robertson-Swann, Vault  is an abstract, minimalist sculpture built of large thick flat polygonal sheets of prefabricated steel, assembled in a way that suggests dynamic movement. It is painted yellow.Presently located outside the Australian Centre for Contemporary Art, it is a key work in Melbourne's public art collection, and of considerable historical importance to the city.Vault has weathered much controversy throughout its existence.  Commissioned by the Melbourne City Council after winning a competition in May 1978, for the newly built Melbourne City Square, the sculpture was not even built before it began to attract criticism from certain media and council factions, on the grounds that its modern form was felt to be unsympathetic to the location.  The cost of $70,000 was also felt to be excessive.The sculpture had no official name for over two years, and acquired a number of nicknames during this time.  Robertson-Swann himself called it The Thing.  The steelworkers who constructed it called it Steelhenge.  Newspapers gave it the derogatory nickname The Yellow Peril, a name which has stuck.  Robertson-Swann eventually officially named the sculpture Vault in September 1980.Installed in the City Square for its opening in May 1980, the Melbourne City Council voted to remove it only three months later. The controversy was one of many issues that led to the State Government's sacking of the City Council in December 1980.  The Builders Labourers Federation announced they would ban any attempts to move it.In July 1981, Vault was finally dismantled and re-erected at Batman Park, a much less prominent part of the city. It remained there until 2002 when it was moved to a position outside the Australian Centre for Contemporary Art in Southbank.Following a heritage study of the Southbank area in 2017, the sculpture was recommended for heritage protection through inclusion in the City of Melbourne Planning Scheme Heritage Overlay, which was applied in 2020. In May 2024 it was proposed for listing at the State level on the Victorian Heritage Register.Vault's design has inspired many built and propositional architectural projects in Melbourne. Several of Denton Corker Marshall's works have "adopted peril's yellow almost as a point of pride and solidarity", while its form has been referenced in some works by ARM Architecture (Ashton Raggatt McDougall), including Storey Hall (1996) on Swanston Street. Vault is also referenced in the yellow origami-like bases of tram stops in the Melbourne city centre, and the yellow sculptural work of the Eastlink freeway's Melbourne International Gateway. Other Melbourne buildings that incorporate references to Vault include the Adelphi Hotel on Flinders Lane and St Jude's Church in Carlton.

Category:Outdoor sculptures in Melbourne

Category:Buildings and structures in the City of Melbourne (LGA)

Category:1980 establishments in Australia

Category:Tourist attractions in Melbourne

Category:Victorian Heritage Register Greater Melbourne (region)


Statue of Jim Rhodes

Prompt: Focus on Statue of Jim Rhodes and explain the abstract.

Governor James A. Rhodes is a 1982 bronze statue depicting Ohio governor Jim Rhodes by Gary Ross, installed along East Broad Street in front of the Rhodes State Office Tower in Columbus, Ohio, United States.

The statue seen during the Rhodes Tower renovation and the [[COVID-19 pandemic in Columbus, Ohio

Category:Outdoor sculptures in Columbus, Ohio

Category:Relocated buildings and structures in Ohio

Category:Monuments and memorials in Ohio

Category:Vandalized works of art in Ohio


Statue of Jim Rhodes

Prompt: Explain the abstract of this artwork, Statue of Jim Rhodes.

Governor James A. Rhodes is a 1982 bronze statue depicting Ohio governor Jim Rhodes by Gary Ross, installed along East Broad Street in front of the Rhodes State Office Tower in Columbus, Ohio, United States.

The statue seen during the Rhodes Tower renovation and the [[COVID-19 pandemic in Columbus, Ohio

Category:Outdoor sculptures in Columbus, Ohio

Category:Relocated buildings and structures in Ohio

Category:Monuments and memorials in Ohio

Category:Vandalized works of art in Ohio


Statue of Jim Rhodes

Prompt: How does Statue of Jim Rhodes explain its abstract?

Governor James A. Rhodes is a 1982 bronze statue depicting Ohio governor Jim Rhodes by Gary Ross, installed along East Broad Street in front of the Rhodes State Office Tower in Columbus, Ohio, United States.

The statue seen during the Rhodes Tower renovation and the [[COVID-19 pandemic in Columbus, Ohio

Category:Outdoor sculptures in Columbus, Ohio

Category:Relocated buildings and structures in Ohio

Category:Monuments and memorials in Ohio

Category:Vandalized works of art in Ohio


Statue of Jim Rhodes

Prompt: In Statue of Jim Rhodes, how is the abstract discussed?

Governor James A. Rhodes is a 1982 bronze statue depicting Ohio governor Jim Rhodes by Gary Ross, installed along East Broad Street in front of the Rhodes State Office Tower in Columbus, Ohio, United States.

The statue seen during the Rhodes Tower renovation and the [[COVID-19 pandemic in Columbus, Ohio

Category:Outdoor sculptures in Columbus, Ohio

Category:Relocated buildings and structures in Ohio

Category:Monuments and memorials in Ohio

Category:Vandalized works of art in Ohio