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The full dataset viewer is not available (click to read why). Only showing a preview of the rows.
The dataset generation failed because of a cast error
Error code:   DatasetGenerationCastError
Exception:    DatasetGenerationCastError
Message:      An error occurred while generating the dataset

All the data files must have the same columns, but at some point there are 9 new columns ({'page_rank', 'pageid', 'page_url', 'gold', 'subsection', 'section', 'entities', 'sub_subsection', 'template'}) and 5 missing columns ({'section_entities', 'en_image_url', 'id', 'entry', 'reference'}).

This happened while the json dataset builder was generating data using

hf://datasets/naist-nlp/MultiExpArt/v2/full/en.train.jsonl (at revision 8448e95a5c7bb2de6060c8c1e7cf318e49ecbc61)

Please either edit the data files to have matching columns, or separate them into different configurations (see docs at https://hf.co/docs/hub/datasets-manual-configuration#multiple-configurations)
Traceback:    Traceback (most recent call last):
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1831, in _prepare_split_single
                  writer.write_table(table)
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/arrow_writer.py", line 644, in write_table
                  pa_table = table_cast(pa_table, self._schema)
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/table.py", line 2272, in table_cast
                  return cast_table_to_schema(table, schema)
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/table.py", line 2218, in cast_table_to_schema
                  raise CastError(
              datasets.table.CastError: Couldn't cast
              title: string
              en_title: string
              pageid: int64
              page_rank: int64
              page_url: string
              image_url: string
              section: string
              prompt: string
              template: string
              gold: string
              entities: list<item: string>
                child 0, item: string
              subsection: string
              sub_subsection: string
              to
              {'id': Value('int64'), 'title': Value('string'), 'en_title': Value('string'), 'image_url': Value('string'), 'en_image_url': Value('null'), 'reference': Value('string'), 'entry': Value('string'), 'prompt': Value('string'), 'section_entities': List(Value('string'))}
              because column names don't match
              
              During handling of the above exception, another exception occurred:
              
              Traceback (most recent call last):
                File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1456, in compute_config_parquet_and_info_response
                  parquet_operations = convert_to_parquet(builder)
                File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1055, in convert_to_parquet
                  builder.download_and_prepare(
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 894, in download_and_prepare
                  self._download_and_prepare(
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 970, in _download_and_prepare
                  self._prepare_split(split_generator, **prepare_split_kwargs)
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1702, in _prepare_split
                  for job_id, done, content in self._prepare_split_single(
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1833, in _prepare_split_single
                  raise DatasetGenerationCastError.from_cast_error(
              datasets.exceptions.DatasetGenerationCastError: An error occurred while generating the dataset
              
              All the data files must have the same columns, but at some point there are 9 new columns ({'page_rank', 'pageid', 'page_url', 'gold', 'subsection', 'section', 'entities', 'sub_subsection', 'template'}) and 5 missing columns ({'section_entities', 'en_image_url', 'id', 'entry', 'reference'}).
              
              This happened while the json dataset builder was generating data using
              
              hf://datasets/naist-nlp/MultiExpArt/v2/full/en.train.jsonl (at revision 8448e95a5c7bb2de6060c8c1e7cf318e49ecbc61)
              
              Please either edit the data files to have matching columns, or separate them into different configurations (see docs at https://hf.co/docs/hub/datasets-manual-configuration#multiple-configurations)

Need help to make the dataset viewer work? Make sure to review how to configure the dataset viewer, and open a discussion for direct support.

id
int64
title
string
en_title
string
image_url
string
en_image_url
null
reference
string
entry
string
prompt
string
section_entities
list
0
Terrestrial Paradise (Bosch)
Terrestrial Paradise (Bosch)
https://upload.wikimedia…ial_Paradise.jpg
null
Terrestrial Paradise is a painting by Netherlandish artist Hieronymus Bosch, dating from around 1490. It is now in the Gallerie dell'Accademia in Venice, Italy. The painting depicts Terrestrial Paradise, where the remaining sins of the saved were washed away. The Fountain of Life stands on top of the hill.This artwork is part of a series of four, the others are Ascent of the Blessed, Fall of the Damned into Hell and Hell.
section
Focus on Terrestrial Paradise (Bosch) and explain the Abstract.Please output in English.
[ "Ascent of the Blessed", "Fall of the Damned into Hell", "Gallerie dell'Accademia", "Hieronymus Bosch", "Venice" ]
1
Terrestrial Paradise (Bosch)
Terrestrial Paradise (Bosch)
https://upload.wikimedia…ial_Paradise.jpg
null
Terrestrial Paradise is a painting by Netherlandish artist Hieronymus Bosch, dating from around 1490. It is now in the Gallerie dell'Accademia in Venice, Italy. The painting depicts Terrestrial Paradise, where the remaining sins of the saved were washed away. The Fountain of Life stands on top of the hill.This artwork is part of a series of four, the others are Ascent of the Blessed, Fall of the Damned into Hell and Hell.
section
Explain the Abstract of this artwork, Terrestrial Paradise (Bosch).Please output in English.
[ "Ascent of the Blessed", "Fall of the Damned into Hell", "Gallerie dell'Accademia", "Hieronymus Bosch", "Venice" ]
2
Terrestrial Paradise (Bosch)
Terrestrial Paradise (Bosch)
https://upload.wikimedia…ial_Paradise.jpg
null
Terrestrial Paradise is a painting by Netherlandish artist Hieronymus Bosch, dating from around 1490. It is now in the Gallerie dell'Accademia in Venice, Italy. The painting depicts Terrestrial Paradise, where the remaining sins of the saved were washed away. The Fountain of Life stands on top of the hill.This artwork is part of a series of four, the others are Ascent of the Blessed, Fall of the Damned into Hell and Hell.
section
How does Terrestrial Paradise (Bosch) explain its Abstract?Please output in English.
[ "Ascent of the Blessed", "Fall of the Damned into Hell", "Gallerie dell'Accademia", "Hieronymus Bosch", "Venice" ]
3
Terrestrial Paradise (Bosch)
Terrestrial Paradise (Bosch)
https://upload.wikimedia…ial_Paradise.jpg
null
Terrestrial Paradise is a painting by Netherlandish artist Hieronymus Bosch, dating from around 1490. It is now in the Gallerie dell'Accademia in Venice, Italy. The painting depicts Terrestrial Paradise, where the remaining sins of the saved were washed away. The Fountain of Life stands on top of the hill.This artwork is part of a series of four, the others are Ascent of the Blessed, Fall of the Damned into Hell and Hell.
section
In Terrestrial Paradise (Bosch), how is the Abstract discussed?Please output in English.
[ "Ascent of the Blessed", "Fall of the Damned into Hell", "Gallerie dell'Accademia", "Hieronymus Bosch", "Venice" ]
4
Terrestrial Paradise (Bosch)
Terrestrial Paradise (Bosch)
https://upload.wikimedia…ial_Paradise.jpg
null
List of paintings by Hieronymus Bosch
section
Focus on Terrestrial Paradise (Bosch) and explain the Seealso.Please output in English.
[ "Hieronymus Bosch", "List of paintings by Hieronymus Bosch" ]
5
Terrestrial Paradise (Bosch)
Terrestrial Paradise (Bosch)
https://upload.wikimedia…ial_Paradise.jpg
null
List of paintings by Hieronymus Bosch
section
Explain the Seealso of this artwork, Terrestrial Paradise (Bosch).Please output in English.
[ "Hieronymus Bosch", "List of paintings by Hieronymus Bosch" ]
6
Terrestrial Paradise (Bosch)
Terrestrial Paradise (Bosch)
https://upload.wikimedia…ial_Paradise.jpg
null
List of paintings by Hieronymus Bosch
section
How does Terrestrial Paradise (Bosch) explain its Seealso?Please output in English.
[ "Hieronymus Bosch", "List of paintings by Hieronymus Bosch" ]
7
Terrestrial Paradise (Bosch)
Terrestrial Paradise (Bosch)
https://upload.wikimedia…ial_Paradise.jpg
null
List of paintings by Hieronymus Bosch
section
In Terrestrial Paradise (Bosch), how is the Seealso discussed?Please output in English.
[ "Hieronymus Bosch", "List of paintings by Hieronymus Bosch" ]
8
Portrait of Maffeo Barberini
Portrait of Maffeo Barberini
https://upload.wikimedia…eo_Barberini.jpg
null
Portrait of Maffeo Barberini is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio. It is in a private collection in Los Angeles.Barberini, 30 years old and from the eminent Florentine Barberini family, was a rapidly rising Church prelate, a friend of Caravaggio's patron Cardinal Francesco Maria Del Monte, and himself a poet and patron of the arts. Barberini's support would continue into later years – in 1603 he commissioned a Sacrifice of Isaac from Caravaggio. In 1623 he became Pope as Urban VIII.
section
Focus on Portrait of Maffeo Barberini and explain the Abstract.Please output in English.
[ "Barberini family", "Baroque", "Caravaggio", "Los Angeles", "Pope" ]
9
Portrait of Maffeo Barberini
Portrait of Maffeo Barberini
https://upload.wikimedia…eo_Barberini.jpg
null
Portrait of Maffeo Barberini is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio. It is in a private collection in Los Angeles.Barberini, 30 years old and from the eminent Florentine Barberini family, was a rapidly rising Church prelate, a friend of Caravaggio's patron Cardinal Francesco Maria Del Monte, and himself a poet and patron of the arts. Barberini's support would continue into later years – in 1603 he commissioned a Sacrifice of Isaac from Caravaggio. In 1623 he became Pope as Urban VIII.
section
Explain the Abstract of this artwork, Portrait of Maffeo Barberini.Please output in English.
[ "Barberini family", "Baroque", "Caravaggio", "Los Angeles", "Pope" ]
10
Portrait of Maffeo Barberini
Portrait of Maffeo Barberini
https://upload.wikimedia…eo_Barberini.jpg
null
Portrait of Maffeo Barberini is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio. It is in a private collection in Los Angeles.Barberini, 30 years old and from the eminent Florentine Barberini family, was a rapidly rising Church prelate, a friend of Caravaggio's patron Cardinal Francesco Maria Del Monte, and himself a poet and patron of the arts. Barberini's support would continue into later years – in 1603 he commissioned a Sacrifice of Isaac from Caravaggio. In 1623 he became Pope as Urban VIII.
section
How does Portrait of Maffeo Barberini explain its Abstract?Please output in English.
[ "Barberini family", "Baroque", "Caravaggio", "Los Angeles", "Pope" ]
11
Portrait of Maffeo Barberini
Portrait of Maffeo Barberini
https://upload.wikimedia…eo_Barberini.jpg
null
Portrait of Maffeo Barberini is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio. It is in a private collection in Los Angeles.Barberini, 30 years old and from the eminent Florentine Barberini family, was a rapidly rising Church prelate, a friend of Caravaggio's patron Cardinal Francesco Maria Del Monte, and himself a poet and patron of the arts. Barberini's support would continue into later years – in 1603 he commissioned a Sacrifice of Isaac from Caravaggio. In 1623 he became Pope as Urban VIII.
section
In Portrait of Maffeo Barberini, how is the Abstract discussed?Please output in English.
[ "Barberini family", "Baroque", "Caravaggio", "Los Angeles", "Pope" ]
12
Portrait of Maffeo Barberini
Portrait of Maffeo Barberini
https://upload.wikimedia…eo_Barberini.jpg
null
List of paintings by Caravaggio
section
Focus on Portrait of Maffeo Barberini and explain the Seealso.Please output in English.
[ "Caravaggio", "List of paintings by Caravaggio" ]
13
Portrait of Maffeo Barberini
Portrait of Maffeo Barberini
https://upload.wikimedia…eo_Barberini.jpg
null
List of paintings by Caravaggio
section
Explain the Seealso of this artwork, Portrait of Maffeo Barberini.Please output in English.
[ "Caravaggio", "List of paintings by Caravaggio" ]
14
Portrait of Maffeo Barberini
Portrait of Maffeo Barberini
https://upload.wikimedia…eo_Barberini.jpg
null
List of paintings by Caravaggio
section
How does Portrait of Maffeo Barberini explain its Seealso?Please output in English.
[ "Caravaggio", "List of paintings by Caravaggio" ]
15
Portrait of Maffeo Barberini
Portrait of Maffeo Barberini
https://upload.wikimedia…eo_Barberini.jpg
null
List of paintings by Caravaggio
section
In Portrait of Maffeo Barberini, how is the Seealso discussed?Please output in English.
[ "Caravaggio", "List of paintings by Caravaggio" ]
16
Portrait of Maffeo Barberini
Portrait of Maffeo Barberini
https://upload.wikimedia…eo_Barberini.jpg
null
Creighton Gilbert. Caravaggio and his two cardinals. Penn State Press, 1995.
section
Focus on Portrait of Maffeo Barberini and explain the References.Please output in English.
[ "Caravaggio" ]
17
Portrait of Maffeo Barberini
Portrait of Maffeo Barberini
https://upload.wikimedia…eo_Barberini.jpg
null
Creighton Gilbert. Caravaggio and his two cardinals. Penn State Press, 1995.
section
Explain the References of this artwork, Portrait of Maffeo Barberini.Please output in English.
[ "Caravaggio" ]
18
Portrait of Maffeo Barberini
Portrait of Maffeo Barberini
https://upload.wikimedia…eo_Barberini.jpg
null
Creighton Gilbert. Caravaggio and his two cardinals. Penn State Press, 1995.
section
How does Portrait of Maffeo Barberini explain its References?Please output in English.
[ "Caravaggio" ]
19
Portrait of Maffeo Barberini
Portrait of Maffeo Barberini
https://upload.wikimedia…eo_Barberini.jpg
null
Creighton Gilbert. Caravaggio and his two cardinals. Penn State Press, 1995.
section
In Portrait of Maffeo Barberini, how is the References discussed?Please output in English.
[ "Caravaggio" ]
20
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
medium = mixed media mural transferred to canvas height_metric = 143.5 width_metric = 81.4 metric_unit = cm imperial_unit = in museum = Museo del Prado city = Madrid movement = Romanticism}}Saturn Devouring His Son is a painting by Spanish artist Francisco Goya. It is traditionally considered a depiction of the Greek myth of the Titan Cronus, whom the Romans called Saturn, eating one of his children out of fear of a prophecy by Gaea that one of his children would overthrow him.</ref>}} The work is one of the 14 so-called Black Paintings that Goya painted directly on the walls of his house sometime between 1820 and 1823. It was transferred to canvas after Goya's death and is now in the Museo del Prado in Madrid.
section
Focus on Saturn Devouring His Son and explain the Abstract.Please output in English.
[ "Black Paintings", "Cronus", "Francisco Goya", "Madrid", "Museo del Prado" ]
21
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
medium = mixed media mural transferred to canvas height_metric = 143.5 width_metric = 81.4 metric_unit = cm imperial_unit = in museum = Museo del Prado city = Madrid movement = Romanticism}}Saturn Devouring His Son is a painting by Spanish artist Francisco Goya. It is traditionally considered a depiction of the Greek myth of the Titan Cronus, whom the Romans called Saturn, eating one of his children out of fear of a prophecy by Gaea that one of his children would overthrow him.</ref>}} The work is one of the 14 so-called Black Paintings that Goya painted directly on the walls of his house sometime between 1820 and 1823. It was transferred to canvas after Goya's death and is now in the Museo del Prado in Madrid.
section
Explain the Abstract of this artwork, Saturn Devouring His Son.Please output in English.
[ "Black Paintings", "Cronus", "Francisco Goya", "Madrid", "Museo del Prado" ]
22
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
medium = mixed media mural transferred to canvas height_metric = 143.5 width_metric = 81.4 metric_unit = cm imperial_unit = in museum = Museo del Prado city = Madrid movement = Romanticism}}Saturn Devouring His Son is a painting by Spanish artist Francisco Goya. It is traditionally considered a depiction of the Greek myth of the Titan Cronus, whom the Romans called Saturn, eating one of his children out of fear of a prophecy by Gaea that one of his children would overthrow him.</ref>}} The work is one of the 14 so-called Black Paintings that Goya painted directly on the walls of his house sometime between 1820 and 1823. It was transferred to canvas after Goya's death and is now in the Museo del Prado in Madrid.
section
How does Saturn Devouring His Son explain its Abstract?Please output in English.
[ "Black Paintings", "Cronus", "Francisco Goya", "Madrid", "Museo del Prado" ]
23
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
medium = mixed media mural transferred to canvas height_metric = 143.5 width_metric = 81.4 metric_unit = cm imperial_unit = in museum = Museo del Prado city = Madrid movement = Romanticism}}Saturn Devouring His Son is a painting by Spanish artist Francisco Goya. It is traditionally considered a depiction of the Greek myth of the Titan Cronus, whom the Romans called Saturn, eating one of his children out of fear of a prophecy by Gaea that one of his children would overthrow him.</ref>}} The work is one of the 14 so-called Black Paintings that Goya painted directly on the walls of his house sometime between 1820 and 1823. It was transferred to canvas after Goya's death and is now in the Museo del Prado in Madrid.
section
In Saturn Devouring His Son, how is the Abstract discussed?Please output in English.
[ "Black Paintings", "Cronus", "Francisco Goya", "Madrid", "Museo del Prado" ]
24
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
In 1819, Goya purchased a house on the banks of Manzanares near Madrid called Quinta del Sordo . It was a two-story house which was named after a previous occupant who had been deaf, although the name was fitting for Goya too, who had been left deaf after contracting a fever in 1792. Between 1819 and 1823, when he left the house to move to Bordeaux, Goya produced a series of 14 paintings using mixed technique on the walls of the house. Although he initially decorated the rooms of the house with more inspiring images, in time he painted over them all with the intensely haunting pictures known today as the Black Paintings. Created without commission for private display, these paintings have been theorized to reflect the artist's state of mind late in a life that witnessed the violence of war and terror stoked by the Spanish Inquisition.Saturn Devouring His Son was one of six works Goya painted in the dining room. It is important to note that Goya never named the works he produced at Quinta del Sordo; the names were assigned by others after his death. This interpretation of the painting sees it as a reference to the Roman myth , in which Terra foretold that one of the sons of Saturn would overthrow him, just as he had overthrown his father, Caelus . To prevent this, Saturn ate his children moments after each was born, eating the gods Vesta , Ceres , Juno , Pluto , and Neptune . His wife Ops eventually hid his sixth child and third son, Jupiter , on the island of Crete, deceiving Saturn by offering a stone wrapped in swaddling in his place. Unlike the painting, the myths usually portray Saturn/Kronos swallowing his children, and later vomiting them up alive after swallowing the stone, rather than violently tearing them apart as in the painting. Jupiter eventually supplanted his father just as the prophecy had predicted.
section
Focus on Saturn Devouring His Son and explain the Backstory.Please output in English.
[ "Black Paintings", "Bordeaux", "Caelus", "Crete", "Madrid", "Ops", "Quinta del Sordo", "Spanish Inquisition" ]
25
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
In 1819, Goya purchased a house on the banks of Manzanares near Madrid called Quinta del Sordo . It was a two-story house which was named after a previous occupant who had been deaf, although the name was fitting for Goya too, who had been left deaf after contracting a fever in 1792. Between 1819 and 1823, when he left the house to move to Bordeaux, Goya produced a series of 14 paintings using mixed technique on the walls of the house. Although he initially decorated the rooms of the house with more inspiring images, in time he painted over them all with the intensely haunting pictures known today as the Black Paintings. Created without commission for private display, these paintings have been theorized to reflect the artist's state of mind late in a life that witnessed the violence of war and terror stoked by the Spanish Inquisition.Saturn Devouring His Son was one of six works Goya painted in the dining room. It is important to note that Goya never named the works he produced at Quinta del Sordo; the names were assigned by others after his death. This interpretation of the painting sees it as a reference to the Roman myth , in which Terra foretold that one of the sons of Saturn would overthrow him, just as he had overthrown his father, Caelus . To prevent this, Saturn ate his children moments after each was born, eating the gods Vesta , Ceres , Juno , Pluto , and Neptune . His wife Ops eventually hid his sixth child and third son, Jupiter , on the island of Crete, deceiving Saturn by offering a stone wrapped in swaddling in his place. Unlike the painting, the myths usually portray Saturn/Kronos swallowing his children, and later vomiting them up alive after swallowing the stone, rather than violently tearing them apart as in the painting. Jupiter eventually supplanted his father just as the prophecy had predicted.
section
Explain the Backstory of this artwork, Saturn Devouring His Son.Please output in English.
[ "Black Paintings", "Bordeaux", "Caelus", "Crete", "Madrid", "Ops", "Quinta del Sordo", "Spanish Inquisition" ]
26
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
In 1819, Goya purchased a house on the banks of Manzanares near Madrid called Quinta del Sordo . It was a two-story house which was named after a previous occupant who had been deaf, although the name was fitting for Goya too, who had been left deaf after contracting a fever in 1792. Between 1819 and 1823, when he left the house to move to Bordeaux, Goya produced a series of 14 paintings using mixed technique on the walls of the house. Although he initially decorated the rooms of the house with more inspiring images, in time he painted over them all with the intensely haunting pictures known today as the Black Paintings. Created without commission for private display, these paintings have been theorized to reflect the artist's state of mind late in a life that witnessed the violence of war and terror stoked by the Spanish Inquisition.Saturn Devouring His Son was one of six works Goya painted in the dining room. It is important to note that Goya never named the works he produced at Quinta del Sordo; the names were assigned by others after his death. This interpretation of the painting sees it as a reference to the Roman myth , in which Terra foretold that one of the sons of Saturn would overthrow him, just as he had overthrown his father, Caelus . To prevent this, Saturn ate his children moments after each was born, eating the gods Vesta , Ceres , Juno , Pluto , and Neptune . His wife Ops eventually hid his sixth child and third son, Jupiter , on the island of Crete, deceiving Saturn by offering a stone wrapped in swaddling in his place. Unlike the painting, the myths usually portray Saturn/Kronos swallowing his children, and later vomiting them up alive after swallowing the stone, rather than violently tearing them apart as in the painting. Jupiter eventually supplanted his father just as the prophecy had predicted.
section
How does Saturn Devouring His Son explain its Backstory?Please output in English.
[ "Black Paintings", "Bordeaux", "Caelus", "Crete", "Madrid", "Ops", "Quinta del Sordo", "Spanish Inquisition" ]
27
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
In 1819, Goya purchased a house on the banks of Manzanares near Madrid called Quinta del Sordo . It was a two-story house which was named after a previous occupant who had been deaf, although the name was fitting for Goya too, who had been left deaf after contracting a fever in 1792. Between 1819 and 1823, when he left the house to move to Bordeaux, Goya produced a series of 14 paintings using mixed technique on the walls of the house. Although he initially decorated the rooms of the house with more inspiring images, in time he painted over them all with the intensely haunting pictures known today as the Black Paintings. Created without commission for private display, these paintings have been theorized to reflect the artist's state of mind late in a life that witnessed the violence of war and terror stoked by the Spanish Inquisition.Saturn Devouring His Son was one of six works Goya painted in the dining room. It is important to note that Goya never named the works he produced at Quinta del Sordo; the names were assigned by others after his death. This interpretation of the painting sees it as a reference to the Roman myth , in which Terra foretold that one of the sons of Saturn would overthrow him, just as he had overthrown his father, Caelus . To prevent this, Saturn ate his children moments after each was born, eating the gods Vesta , Ceres , Juno , Pluto , and Neptune . His wife Ops eventually hid his sixth child and third son, Jupiter , on the island of Crete, deceiving Saturn by offering a stone wrapped in swaddling in his place. Unlike the painting, the myths usually portray Saturn/Kronos swallowing his children, and later vomiting them up alive after swallowing the stone, rather than violently tearing them apart as in the painting. Jupiter eventually supplanted his father just as the prophecy had predicted.
section
In Saturn Devouring His Son, how is the Backstory discussed?Please output in English.
[ "Black Paintings", "Bordeaux", "Caelus", "Crete", "Madrid", "Ops", "Quinta del Sordo", "Spanish Inquisition" ]
28
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
</ref> }}Goya depicts a large figure feasting on a human form. The human head and part of the left arm have already been consumed. The right arm has probably been eaten too, though it could be folded in front of the body and held in place by the larger figure's thumbs. The larger figure is on the point of taking another bite from the left arm; as he looms from the darkness, his mouth gapes and his eyes bulge widely. The only other brightness in the picture comes from the white flesh, the red blood of the corpse, and the white knuckles of the larger figure as he digs his fingers into the back of the body. Various interpretations of the meaning of the picture have been offered: the conflict between youth and old age, time as the devourer of all things, the wrath of God and an allegory of the situation in Spain, where the fatherland consumed its children in wars and revolution. There have been explanations rooted in Goya's relationships with his son, Javier, the only of his six children to survive to adulthood, or with his live-in housekeeper and possible mistress, Leocadia Weiss; the sex of the body being consumed cannot be determined with certainty. If Goya made any notes on the picture, they did not survive, as he never intended the picture for public exhibition.The mood of the painting is in stark contrast to Rubens' Saturn, as the central figure is acting out of madness rather than calculating reason, and the consumed figure is completely lifeless rather than in clear pain. Goya had likely seen Rubens' Saturn in his life, but the degree to which inspiration was taken is unknown. He notes that the traditional iconographical attributes associated with Saturn are absent from the painting, and the body of the smaller figure does not resemble that of an infant, or even truly an anatomically accurate human at all. He states that much like the other Black Paintings, "one must take the title with a grain of salt." In this way, the larger figure represents the fears of Jews manifesting in real violence against them, as "real bestiality is born of imagined bestiality," although he concedes this is impossible to prove and, like the Saturn interpretation, demonstrates the varied intent of Goya in the composition.It has been questioned whether the consumed figure is male. The art historian John J. Ciofalo writes that "the victim appears to be an adult and, given the curvaceous buttocks and legs, a female." Moreover, in other versions, the sons are alive and struggling or at least have heads, so the viewer can identify or sympathize. The victim is not struggling in Saturn's vice-like, blood-oozing grip, which cuts into her body, because she is dead, not to mention headless. She does not, to say the least, encourage identification. The identification flows toward Saturn. Ciofalo concludes: "The overwhelming feeling of the image is one of violent and insatiable lust, underscored, to put it mildly, by the livid and enormously engorged penis between his legs...utter male fury has hardly before or since been captured so vividly."
section
Focus on Saturn Devouring His Son and explain the Compositionandinterpretations.Please output in English.
[ "Black Paintings" ]
29
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
</ref> }}Goya depicts a large figure feasting on a human form. The human head and part of the left arm have already been consumed. The right arm has probably been eaten too, though it could be folded in front of the body and held in place by the larger figure's thumbs. The larger figure is on the point of taking another bite from the left arm; as he looms from the darkness, his mouth gapes and his eyes bulge widely. The only other brightness in the picture comes from the white flesh, the red blood of the corpse, and the white knuckles of the larger figure as he digs his fingers into the back of the body. Various interpretations of the meaning of the picture have been offered: the conflict between youth and old age, time as the devourer of all things, the wrath of God and an allegory of the situation in Spain, where the fatherland consumed its children in wars and revolution. There have been explanations rooted in Goya's relationships with his son, Javier, the only of his six children to survive to adulthood, or with his live-in housekeeper and possible mistress, Leocadia Weiss; the sex of the body being consumed cannot be determined with certainty. If Goya made any notes on the picture, they did not survive, as he never intended the picture for public exhibition.The mood of the painting is in stark contrast to Rubens' Saturn, as the central figure is acting out of madness rather than calculating reason, and the consumed figure is completely lifeless rather than in clear pain. Goya had likely seen Rubens' Saturn in his life, but the degree to which inspiration was taken is unknown. He notes that the traditional iconographical attributes associated with Saturn are absent from the painting, and the body of the smaller figure does not resemble that of an infant, or even truly an anatomically accurate human at all. He states that much like the other Black Paintings, "one must take the title with a grain of salt." In this way, the larger figure represents the fears of Jews manifesting in real violence against them, as "real bestiality is born of imagined bestiality," although he concedes this is impossible to prove and, like the Saturn interpretation, demonstrates the varied intent of Goya in the composition.It has been questioned whether the consumed figure is male. The art historian John J. Ciofalo writes that "the victim appears to be an adult and, given the curvaceous buttocks and legs, a female." Moreover, in other versions, the sons are alive and struggling or at least have heads, so the viewer can identify or sympathize. The victim is not struggling in Saturn's vice-like, blood-oozing grip, which cuts into her body, because she is dead, not to mention headless. She does not, to say the least, encourage identification. The identification flows toward Saturn. Ciofalo concludes: "The overwhelming feeling of the image is one of violent and insatiable lust, underscored, to put it mildly, by the livid and enormously engorged penis between his legs...utter male fury has hardly before or since been captured so vividly."
section
Explain the Compositionandinterpretations of this artwork, Saturn Devouring His Son.Please output in English.
[ "Black Paintings" ]
30
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
</ref> }}Goya depicts a large figure feasting on a human form. The human head and part of the left arm have already been consumed. The right arm has probably been eaten too, though it could be folded in front of the body and held in place by the larger figure's thumbs. The larger figure is on the point of taking another bite from the left arm; as he looms from the darkness, his mouth gapes and his eyes bulge widely. The only other brightness in the picture comes from the white flesh, the red blood of the corpse, and the white knuckles of the larger figure as he digs his fingers into the back of the body. Various interpretations of the meaning of the picture have been offered: the conflict between youth and old age, time as the devourer of all things, the wrath of God and an allegory of the situation in Spain, where the fatherland consumed its children in wars and revolution. There have been explanations rooted in Goya's relationships with his son, Javier, the only of his six children to survive to adulthood, or with his live-in housekeeper and possible mistress, Leocadia Weiss; the sex of the body being consumed cannot be determined with certainty. If Goya made any notes on the picture, they did not survive, as he never intended the picture for public exhibition.The mood of the painting is in stark contrast to Rubens' Saturn, as the central figure is acting out of madness rather than calculating reason, and the consumed figure is completely lifeless rather than in clear pain. Goya had likely seen Rubens' Saturn in his life, but the degree to which inspiration was taken is unknown. He notes that the traditional iconographical attributes associated with Saturn are absent from the painting, and the body of the smaller figure does not resemble that of an infant, or even truly an anatomically accurate human at all. He states that much like the other Black Paintings, "one must take the title with a grain of salt." In this way, the larger figure represents the fears of Jews manifesting in real violence against them, as "real bestiality is born of imagined bestiality," although he concedes this is impossible to prove and, like the Saturn interpretation, demonstrates the varied intent of Goya in the composition.It has been questioned whether the consumed figure is male. The art historian John J. Ciofalo writes that "the victim appears to be an adult and, given the curvaceous buttocks and legs, a female." Moreover, in other versions, the sons are alive and struggling or at least have heads, so the viewer can identify or sympathize. The victim is not struggling in Saturn's vice-like, blood-oozing grip, which cuts into her body, because she is dead, not to mention headless. She does not, to say the least, encourage identification. The identification flows toward Saturn. Ciofalo concludes: "The overwhelming feeling of the image is one of violent and insatiable lust, underscored, to put it mildly, by the livid and enormously engorged penis between his legs...utter male fury has hardly before or since been captured so vividly."
section
How does Saturn Devouring His Son explain its Compositionandinterpretations?Please output in English.
[ "Black Paintings" ]
31
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
</ref> }}Goya depicts a large figure feasting on a human form. The human head and part of the left arm have already been consumed. The right arm has probably been eaten too, though it could be folded in front of the body and held in place by the larger figure's thumbs. The larger figure is on the point of taking another bite from the left arm; as he looms from the darkness, his mouth gapes and his eyes bulge widely. The only other brightness in the picture comes from the white flesh, the red blood of the corpse, and the white knuckles of the larger figure as he digs his fingers into the back of the body. Various interpretations of the meaning of the picture have been offered: the conflict between youth and old age, time as the devourer of all things, the wrath of God and an allegory of the situation in Spain, where the fatherland consumed its children in wars and revolution. There have been explanations rooted in Goya's relationships with his son, Javier, the only of his six children to survive to adulthood, or with his live-in housekeeper and possible mistress, Leocadia Weiss; the sex of the body being consumed cannot be determined with certainty. If Goya made any notes on the picture, they did not survive, as he never intended the picture for public exhibition.The mood of the painting is in stark contrast to Rubens' Saturn, as the central figure is acting out of madness rather than calculating reason, and the consumed figure is completely lifeless rather than in clear pain. Goya had likely seen Rubens' Saturn in his life, but the degree to which inspiration was taken is unknown. He notes that the traditional iconographical attributes associated with Saturn are absent from the painting, and the body of the smaller figure does not resemble that of an infant, or even truly an anatomically accurate human at all. He states that much like the other Black Paintings, "one must take the title with a grain of salt." In this way, the larger figure represents the fears of Jews manifesting in real violence against them, as "real bestiality is born of imagined bestiality," although he concedes this is impossible to prove and, like the Saturn interpretation, demonstrates the varied intent of Goya in the composition.It has been questioned whether the consumed figure is male. The art historian John J. Ciofalo writes that "the victim appears to be an adult and, given the curvaceous buttocks and legs, a female." Moreover, in other versions, the sons are alive and struggling or at least have heads, so the viewer can identify or sympathize. The victim is not struggling in Saturn's vice-like, blood-oozing grip, which cuts into her body, because she is dead, not to mention headless. She does not, to say the least, encourage identification. The identification flows toward Saturn. Ciofalo concludes: "The overwhelming feeling of the image is one of violent and insatiable lust, underscored, to put it mildly, by the livid and enormously engorged penis between his legs...utter male fury has hardly before or since been captured so vividly."
section
In Saturn Devouring His Son, how is the Compositionandinterpretations discussed?Please output in English.
[ "Black Paintings" ]
32
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
When Goya went into self-imposed exile in France in 1823, he passed the Quinta del Sordo to his grandson Mariano. After various changes of ownership, the house came into the possession of the French Baron Émile d'Erlanger in 1874. After 70 years on the walls of the Quinta del Sordo, the murals were deteriorating badly and, in order to preserve them, the new owner of the house had them transferred to canvas under the direction of Salvador Martínez Cubells, the chief art restorer at the Museo del Prado. After showing them at the Exposition Universelle of 1878 in Paris, d'Erlanger eventually donated them to the Spanish state. The effects of time on the murals, coupled with the inevitable damage caused by the delicate operation of mounting the crumbling plaster on canvas, meant that most of the murals required restoration work and some detail may have been lost.
section
Focus on Saturn Devouring His Son and explain the TransferfromtheQuintadelSordo.Please output in English.
[ "Museo del Prado", "Paris", "Quinta del Sordo", "Salvador Martínez Cubells" ]
33
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
When Goya went into self-imposed exile in France in 1823, he passed the Quinta del Sordo to his grandson Mariano. After various changes of ownership, the house came into the possession of the French Baron Émile d'Erlanger in 1874. After 70 years on the walls of the Quinta del Sordo, the murals were deteriorating badly and, in order to preserve them, the new owner of the house had them transferred to canvas under the direction of Salvador Martínez Cubells, the chief art restorer at the Museo del Prado. After showing them at the Exposition Universelle of 1878 in Paris, d'Erlanger eventually donated them to the Spanish state. The effects of time on the murals, coupled with the inevitable damage caused by the delicate operation of mounting the crumbling plaster on canvas, meant that most of the murals required restoration work and some detail may have been lost.
section
Explain the TransferfromtheQuintadelSordo of this artwork, Saturn Devouring His Son.Please output in English.
[ "Museo del Prado", "Paris", "Quinta del Sordo", "Salvador Martínez Cubells" ]
34
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
When Goya went into self-imposed exile in France in 1823, he passed the Quinta del Sordo to his grandson Mariano. After various changes of ownership, the house came into the possession of the French Baron Émile d'Erlanger in 1874. After 70 years on the walls of the Quinta del Sordo, the murals were deteriorating badly and, in order to preserve them, the new owner of the house had them transferred to canvas under the direction of Salvador Martínez Cubells, the chief art restorer at the Museo del Prado. After showing them at the Exposition Universelle of 1878 in Paris, d'Erlanger eventually donated them to the Spanish state. The effects of time on the murals, coupled with the inevitable damage caused by the delicate operation of mounting the crumbling plaster on canvas, meant that most of the murals required restoration work and some detail may have been lost.
section
How does Saturn Devouring His Son explain its TransferfromtheQuintadelSordo?Please output in English.
[ "Museo del Prado", "Paris", "Quinta del Sordo", "Salvador Martínez Cubells" ]
35
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
When Goya went into self-imposed exile in France in 1823, he passed the Quinta del Sordo to his grandson Mariano. After various changes of ownership, the house came into the possession of the French Baron Émile d'Erlanger in 1874. After 70 years on the walls of the Quinta del Sordo, the murals were deteriorating badly and, in order to preserve them, the new owner of the house had them transferred to canvas under the direction of Salvador Martínez Cubells, the chief art restorer at the Museo del Prado. After showing them at the Exposition Universelle of 1878 in Paris, d'Erlanger eventually donated them to the Spanish state. The effects of time on the murals, coupled with the inevitable damage caused by the delicate operation of mounting the crumbling plaster on canvas, meant that most of the murals required restoration work and some detail may have been lost.
section
In Saturn Devouring His Son, how is the TransferfromtheQuintadelSordo discussed?Please output in English.
[ "Museo del Prado", "Paris", "Quinta del Sordo", "Salvador Martínez Cubells" ]
36
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
Child cannibalism Infanticide List of works by Francisco Goya
section
Focus on Saturn Devouring His Son and explain the Seealso.Please output in English.
[ "Child cannibalism", "Francisco Goya", "Infanticide", "List of works by Francisco Goya" ]
37
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
Child cannibalism Infanticide List of works by Francisco Goya
section
Explain the Seealso of this artwork, Saturn Devouring His Son.Please output in English.
[ "Child cannibalism", "Francisco Goya", "Infanticide", "List of works by Francisco Goya" ]
38
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
Child cannibalism Infanticide List of works by Francisco Goya
section
How does Saturn Devouring His Son explain its Seealso?Please output in English.
[ "Child cannibalism", "Francisco Goya", "Infanticide", "List of works by Francisco Goya" ]
39
Saturn Devouring His Son
Saturn Devouring His Son
https://upload.wikimedia…1819-1823%29.jpg
null
Child cannibalism Infanticide List of works by Francisco Goya
section
In Saturn Devouring His Son, how is the Seealso discussed?Please output in English.
[ "Child cannibalism", "Francisco Goya", "Infanticide", "List of works by Francisco Goya" ]
40
Trojeručica
Trojeručica
https://upload.wikimedia…neTricherusa.jpg
null
Bogorodica Trojeručica or simply Trojeručica is an Eastern Orthodox wonderworking icon believed to have been produced in the 8th century in Palestine by John of Damascus. It depicts Theotokos with young Jesus in the hodegetria position, and is covered with a riza. On the back of the icon is the painting of St Nicholas. It is today found in the Hilandar Monastery on Mount Athos, Greece, and is the most important icon of the Serbian Orthodox Church.
section
Focus on Trojeručica and explain the Abstract.Please output in English.
[ "Greece", "Hilandar", "Jesus", "John of Damascus", "Mount Athos" ]
41
Trojeručica
Trojeručica
https://upload.wikimedia…neTricherusa.jpg
null
Bogorodica Trojeručica or simply Trojeručica is an Eastern Orthodox wonderworking icon believed to have been produced in the 8th century in Palestine by John of Damascus. It depicts Theotokos with young Jesus in the hodegetria position, and is covered with a riza. On the back of the icon is the painting of St Nicholas. It is today found in the Hilandar Monastery on Mount Athos, Greece, and is the most important icon of the Serbian Orthodox Church.
section
Explain the Abstract of this artwork, Trojeručica.Please output in English.
[ "Greece", "Hilandar", "Jesus", "John of Damascus", "Mount Athos" ]
42
Trojeručica
Trojeručica
https://upload.wikimedia…neTricherusa.jpg
null
Bogorodica Trojeručica or simply Trojeručica is an Eastern Orthodox wonderworking icon believed to have been produced in the 8th century in Palestine by John of Damascus. It depicts Theotokos with young Jesus in the hodegetria position, and is covered with a riza. On the back of the icon is the painting of St Nicholas. It is today found in the Hilandar Monastery on Mount Athos, Greece, and is the most important icon of the Serbian Orthodox Church.
section
How does Trojeručica explain its Abstract?Please output in English.
[ "Greece", "Hilandar", "Jesus", "John of Damascus", "Mount Athos" ]
43
Trojeručica
Trojeručica
https://upload.wikimedia…neTricherusa.jpg
null
Bogorodica Trojeručica or simply Trojeručica is an Eastern Orthodox wonderworking icon believed to have been produced in the 8th century in Palestine by John of Damascus. It depicts Theotokos with young Jesus in the hodegetria position, and is covered with a riza. On the back of the icon is the painting of St Nicholas. It is today found in the Hilandar Monastery on Mount Athos, Greece, and is the most important icon of the Serbian Orthodox Church.
section
In Trojeručica, how is the Abstract discussed?Please output in English.
[ "Greece", "Hilandar", "Jesus", "John of Damascus", "Mount Athos" ]
44
Trojeručica
Trojeručica
https://upload.wikimedia…neTricherusa.jpg
null
According to tradition, the icon was in the possession of John of Damascus in the early 8th century and it is associated with his miraculous healing around the year 717. According to tradition, while he was serving as Vizier to caliph Al-Walid I, he was falsely accused of treachery and his hand was cut off. The accusation was, allegedly, made by Byzantine Iconoclast emperor Leo the Isaurian, who was indeed a great opponent of St John, and friend of Al-Walid I. This icon has two feast days: and .Art historians think the style of the icon is more likely from the 14th century, and that it may be a copy or re-painting of an earlier prototype. Another version brought to Moscow in 1661 became famous, and resulted in many Russian copies.
section
Focus on Trojeručica and explain the History.Please output in English.
[ "Al-Walid I", "Icon", "John of Damascus", "Moscow" ]
45
Trojeručica
Trojeručica
https://upload.wikimedia…neTricherusa.jpg
null
According to tradition, the icon was in the possession of John of Damascus in the early 8th century and it is associated with his miraculous healing around the year 717. According to tradition, while he was serving as Vizier to caliph Al-Walid I, he was falsely accused of treachery and his hand was cut off. The accusation was, allegedly, made by Byzantine Iconoclast emperor Leo the Isaurian, who was indeed a great opponent of St John, and friend of Al-Walid I. This icon has two feast days: and .Art historians think the style of the icon is more likely from the 14th century, and that it may be a copy or re-painting of an earlier prototype. Another version brought to Moscow in 1661 became famous, and resulted in many Russian copies.
section
Explain the History of this artwork, Trojeručica.Please output in English.
[ "Al-Walid I", "Icon", "John of Damascus", "Moscow" ]
46
Trojeručica
Trojeručica
https://upload.wikimedia…neTricherusa.jpg
null
According to tradition, the icon was in the possession of John of Damascus in the early 8th century and it is associated with his miraculous healing around the year 717. According to tradition, while he was serving as Vizier to caliph Al-Walid I, he was falsely accused of treachery and his hand was cut off. The accusation was, allegedly, made by Byzantine Iconoclast emperor Leo the Isaurian, who was indeed a great opponent of St John, and friend of Al-Walid I. This icon has two feast days: and .Art historians think the style of the icon is more likely from the 14th century, and that it may be a copy or re-painting of an earlier prototype. Another version brought to Moscow in 1661 became famous, and resulted in many Russian copies.
section
How does Trojeručica explain its History?Please output in English.
[ "Al-Walid I", "Icon", "John of Damascus", "Moscow" ]
47
Trojeručica
Trojeručica
https://upload.wikimedia…neTricherusa.jpg
null
According to tradition, the icon was in the possession of John of Damascus in the early 8th century and it is associated with his miraculous healing around the year 717. According to tradition, while he was serving as Vizier to caliph Al-Walid I, he was falsely accused of treachery and his hand was cut off. The accusation was, allegedly, made by Byzantine Iconoclast emperor Leo the Isaurian, who was indeed a great opponent of St John, and friend of Al-Walid I. This icon has two feast days: and .Art historians think the style of the icon is more likely from the 14th century, and that it may be a copy or re-painting of an earlier prototype. Another version brought to Moscow in 1661 became famous, and resulted in many Russian copies.
section
In Trojeručica, how is the History discussed?Please output in English.
[ "Al-Walid I", "Icon", "John of Damascus", "Moscow" ]
48
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
medium = Oil on canvas height_metric = 101.6 width_metric = 127 metric_unit = cm imperial_unit = in museum = Detroit Institute of Arts city = Detroit, Michigan}}The Nightmare is a 1781 oil painting by Swiss artist Henry Fuseli. It shows a woman in deep sleep with her arms thrown below her, and with a demonic and ape-like incubus crouched on her chest. The painting's dreamlike and haunting erotic evocation of infatuation and obsession was a huge popular success.After its first exhibition, at the 1782 Royal Academy of London, critics and patrons reacted with horrified fascination and the work became widely popular, to the extent that it was parodied in political satire and an engraved version was widely distributed. In response, Fuseli produced at least three other versions.Interpretations vary. The canvas seems to portray simultaneously a dreaming woman and the content of her nightmare. The incubus and horse's head refer to contemporary belief and folklore about nightmares but have been ascribed more specific meanings by some theorists. Contemporary critics were taken aback by the overt sexuality of the painting, since interpreted by some scholars as anticipating Jungian ideas about the unconscious.
section
Focus on The Nightmare and explain the Abstract.Please output in English.
[ "Detroit Institute of Arts", "Henry Fuseli", "Nightmare" ]
49
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
medium = Oil on canvas height_metric = 101.6 width_metric = 127 metric_unit = cm imperial_unit = in museum = Detroit Institute of Arts city = Detroit, Michigan}}The Nightmare is a 1781 oil painting by Swiss artist Henry Fuseli. It shows a woman in deep sleep with her arms thrown below her, and with a demonic and ape-like incubus crouched on her chest. The painting's dreamlike and haunting erotic evocation of infatuation and obsession was a huge popular success.After its first exhibition, at the 1782 Royal Academy of London, critics and patrons reacted with horrified fascination and the work became widely popular, to the extent that it was parodied in political satire and an engraved version was widely distributed. In response, Fuseli produced at least three other versions.Interpretations vary. The canvas seems to portray simultaneously a dreaming woman and the content of her nightmare. The incubus and horse's head refer to contemporary belief and folklore about nightmares but have been ascribed more specific meanings by some theorists. Contemporary critics were taken aback by the overt sexuality of the painting, since interpreted by some scholars as anticipating Jungian ideas about the unconscious.
section
Explain the Abstract of this artwork, The Nightmare.Please output in English.
[ "Detroit Institute of Arts", "Henry Fuseli", "Nightmare" ]
50
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
medium = Oil on canvas height_metric = 101.6 width_metric = 127 metric_unit = cm imperial_unit = in museum = Detroit Institute of Arts city = Detroit, Michigan}}The Nightmare is a 1781 oil painting by Swiss artist Henry Fuseli. It shows a woman in deep sleep with her arms thrown below her, and with a demonic and ape-like incubus crouched on her chest. The painting's dreamlike and haunting erotic evocation of infatuation and obsession was a huge popular success.After its first exhibition, at the 1782 Royal Academy of London, critics and patrons reacted with horrified fascination and the work became widely popular, to the extent that it was parodied in political satire and an engraved version was widely distributed. In response, Fuseli produced at least three other versions.Interpretations vary. The canvas seems to portray simultaneously a dreaming woman and the content of her nightmare. The incubus and horse's head refer to contemporary belief and folklore about nightmares but have been ascribed more specific meanings by some theorists. Contemporary critics were taken aback by the overt sexuality of the painting, since interpreted by some scholars as anticipating Jungian ideas about the unconscious.
section
How does The Nightmare explain its Abstract?Please output in English.
[ "Detroit Institute of Arts", "Henry Fuseli", "Nightmare" ]
51
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
medium = Oil on canvas height_metric = 101.6 width_metric = 127 metric_unit = cm imperial_unit = in museum = Detroit Institute of Arts city = Detroit, Michigan}}The Nightmare is a 1781 oil painting by Swiss artist Henry Fuseli. It shows a woman in deep sleep with her arms thrown below her, and with a demonic and ape-like incubus crouched on her chest. The painting's dreamlike and haunting erotic evocation of infatuation and obsession was a huge popular success.After its first exhibition, at the 1782 Royal Academy of London, critics and patrons reacted with horrified fascination and the work became widely popular, to the extent that it was parodied in political satire and an engraved version was widely distributed. In response, Fuseli produced at least three other versions.Interpretations vary. The canvas seems to portray simultaneously a dreaming woman and the content of her nightmare. The incubus and horse's head refer to contemporary belief and folklore about nightmares but have been ascribed more specific meanings by some theorists. Contemporary critics were taken aback by the overt sexuality of the painting, since interpreted by some scholars as anticipating Jungian ideas about the unconscious.
section
In The Nightmare, how is the Abstract discussed?Please output in English.
[ "Detroit Institute of Arts", "Henry Fuseli", "Nightmare" ]
52
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The Nightmare simultaneously offers both the image of a dream—by indicating the effect of the nightmare on the woman—and a dream image—in symbolically portraying the sleeping vision. It depicts a sleeping woman draped over the end of a bed with her head hanging down, exposing her long neck. She is surmounted by an incubus that peers out at the viewer. The sleeper seems lifeless and, lying on her back, takes a position then believed to encourage nightmares. Her brilliant coloration is set against the darker reds, yellows, and ochres of the background; Fuseli used a chiaroscuro effect to create strong contrasts between light and shade. The interior is contemporary and fashionable and contains a small table on which rests a mirror, phial, and book. The room is hung with red velvet curtains which drape behind the bed. Emerging from a parting in the curtain is the head of a horse with bold, featureless eyes.For contemporary viewers, the relationship of the incubus and the horse evoked the notion of nightmares. The work was likely inspired by the waking dreams experienced by Fuseli and his contemporaries, who found that these experiences related to folkloric beliefs like the Germanic tales about demons and witches that possessed people who slept alone. In these stories, men were visited by horses or hags, giving rise to the terms "hag-riding" and "mare-riding", and women were believed to engage in sex with the devil. The painting incorporates a variety of imagery associated with these ideas, depicting a mare's head and a demon crouched atop the woman.Sleep and dreams were common subjects for the Zürich-born Henry Fuseli, though The Nightmare is unique among his paintings for its lack of reference to literary or religious themes . His first known painting is Joseph Interpreting the Dreams of the Butler and Baker of Pharaoh , and later he produced The Shepherd's Dream inspired by John Milton's Paradise Lost, and Richard&nbsp;III Visited by Ghosts based on Shakespeare's play.Fuseli's knowledge of art history was broad, allowing critics to propose sources for the painting's elements in antique, classical, and Renaissance art. According to art critic Nicholas Powell, the woman's pose may derive from the Vatican Ariadne, and the style of the incubus from figures at Selinunte, an archaeological site in Sicily. A source for the woman in Giulio Romano's The Dream of Hecuba at the Palazzo del Te has also been proposed. Powell links the horse to a woodcut by the German Renaissance artist Hans Baldung or to the marble Horse Tamers on Quirinal Hill, Rome. Fuseli may have added the horse as an afterthought, since a preliminary chalk sketch did not include it. Its presence in the painting has been viewed as a visual pun on the word "nightmare" and a self-conscious reference to folklore—the horse destabilises the painting's conceit and contributes to its Gothic tone.
section
Focus on The Nightmare and explain the Description.Please output in English.
[ "German Renaissance", "Giulio Romano", "Hans Baldung", "Henry Fuseli", "Horse Tamers", "John Milton", "Nightmare", "Palazzo del Te", "Paradise Lost", "Quirinal Hill", "Sicily" ]
53
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The Nightmare simultaneously offers both the image of a dream—by indicating the effect of the nightmare on the woman—and a dream image—in symbolically portraying the sleeping vision. It depicts a sleeping woman draped over the end of a bed with her head hanging down, exposing her long neck. She is surmounted by an incubus that peers out at the viewer. The sleeper seems lifeless and, lying on her back, takes a position then believed to encourage nightmares. Her brilliant coloration is set against the darker reds, yellows, and ochres of the background; Fuseli used a chiaroscuro effect to create strong contrasts between light and shade. The interior is contemporary and fashionable and contains a small table on which rests a mirror, phial, and book. The room is hung with red velvet curtains which drape behind the bed. Emerging from a parting in the curtain is the head of a horse with bold, featureless eyes.For contemporary viewers, the relationship of the incubus and the horse evoked the notion of nightmares. The work was likely inspired by the waking dreams experienced by Fuseli and his contemporaries, who found that these experiences related to folkloric beliefs like the Germanic tales about demons and witches that possessed people who slept alone. In these stories, men were visited by horses or hags, giving rise to the terms "hag-riding" and "mare-riding", and women were believed to engage in sex with the devil. The painting incorporates a variety of imagery associated with these ideas, depicting a mare's head and a demon crouched atop the woman.Sleep and dreams were common subjects for the Zürich-born Henry Fuseli, though The Nightmare is unique among his paintings for its lack of reference to literary or religious themes . His first known painting is Joseph Interpreting the Dreams of the Butler and Baker of Pharaoh , and later he produced The Shepherd's Dream inspired by John Milton's Paradise Lost, and Richard&nbsp;III Visited by Ghosts based on Shakespeare's play.Fuseli's knowledge of art history was broad, allowing critics to propose sources for the painting's elements in antique, classical, and Renaissance art. According to art critic Nicholas Powell, the woman's pose may derive from the Vatican Ariadne, and the style of the incubus from figures at Selinunte, an archaeological site in Sicily. A source for the woman in Giulio Romano's The Dream of Hecuba at the Palazzo del Te has also been proposed. Powell links the horse to a woodcut by the German Renaissance artist Hans Baldung or to the marble Horse Tamers on Quirinal Hill, Rome. Fuseli may have added the horse as an afterthought, since a preliminary chalk sketch did not include it. Its presence in the painting has been viewed as a visual pun on the word "nightmare" and a self-conscious reference to folklore—the horse destabilises the painting's conceit and contributes to its Gothic tone.
section
Explain the Description of this artwork, The Nightmare.Please output in English.
[ "German Renaissance", "Giulio Romano", "Hans Baldung", "Henry Fuseli", "Horse Tamers", "John Milton", "Nightmare", "Palazzo del Te", "Paradise Lost", "Quirinal Hill", "Sicily" ]
54
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The Nightmare simultaneously offers both the image of a dream—by indicating the effect of the nightmare on the woman—and a dream image—in symbolically portraying the sleeping vision. It depicts a sleeping woman draped over the end of a bed with her head hanging down, exposing her long neck. She is surmounted by an incubus that peers out at the viewer. The sleeper seems lifeless and, lying on her back, takes a position then believed to encourage nightmares. Her brilliant coloration is set against the darker reds, yellows, and ochres of the background; Fuseli used a chiaroscuro effect to create strong contrasts between light and shade. The interior is contemporary and fashionable and contains a small table on which rests a mirror, phial, and book. The room is hung with red velvet curtains which drape behind the bed. Emerging from a parting in the curtain is the head of a horse with bold, featureless eyes.For contemporary viewers, the relationship of the incubus and the horse evoked the notion of nightmares. The work was likely inspired by the waking dreams experienced by Fuseli and his contemporaries, who found that these experiences related to folkloric beliefs like the Germanic tales about demons and witches that possessed people who slept alone. In these stories, men were visited by horses or hags, giving rise to the terms "hag-riding" and "mare-riding", and women were believed to engage in sex with the devil. The painting incorporates a variety of imagery associated with these ideas, depicting a mare's head and a demon crouched atop the woman.Sleep and dreams were common subjects for the Zürich-born Henry Fuseli, though The Nightmare is unique among his paintings for its lack of reference to literary or religious themes . His first known painting is Joseph Interpreting the Dreams of the Butler and Baker of Pharaoh , and later he produced The Shepherd's Dream inspired by John Milton's Paradise Lost, and Richard&nbsp;III Visited by Ghosts based on Shakespeare's play.Fuseli's knowledge of art history was broad, allowing critics to propose sources for the painting's elements in antique, classical, and Renaissance art. According to art critic Nicholas Powell, the woman's pose may derive from the Vatican Ariadne, and the style of the incubus from figures at Selinunte, an archaeological site in Sicily. A source for the woman in Giulio Romano's The Dream of Hecuba at the Palazzo del Te has also been proposed. Powell links the horse to a woodcut by the German Renaissance artist Hans Baldung or to the marble Horse Tamers on Quirinal Hill, Rome. Fuseli may have added the horse as an afterthought, since a preliminary chalk sketch did not include it. Its presence in the painting has been viewed as a visual pun on the word "nightmare" and a self-conscious reference to folklore—the horse destabilises the painting's conceit and contributes to its Gothic tone.
section
How does The Nightmare explain its Description?Please output in English.
[ "German Renaissance", "Giulio Romano", "Hans Baldung", "Henry Fuseli", "Horse Tamers", "John Milton", "Nightmare", "Palazzo del Te", "Paradise Lost", "Quirinal Hill", "Sicily" ]
55
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The Nightmare simultaneously offers both the image of a dream—by indicating the effect of the nightmare on the woman—and a dream image—in symbolically portraying the sleeping vision. It depicts a sleeping woman draped over the end of a bed with her head hanging down, exposing her long neck. She is surmounted by an incubus that peers out at the viewer. The sleeper seems lifeless and, lying on her back, takes a position then believed to encourage nightmares. Her brilliant coloration is set against the darker reds, yellows, and ochres of the background; Fuseli used a chiaroscuro effect to create strong contrasts between light and shade. The interior is contemporary and fashionable and contains a small table on which rests a mirror, phial, and book. The room is hung with red velvet curtains which drape behind the bed. Emerging from a parting in the curtain is the head of a horse with bold, featureless eyes.For contemporary viewers, the relationship of the incubus and the horse evoked the notion of nightmares. The work was likely inspired by the waking dreams experienced by Fuseli and his contemporaries, who found that these experiences related to folkloric beliefs like the Germanic tales about demons and witches that possessed people who slept alone. In these stories, men were visited by horses or hags, giving rise to the terms "hag-riding" and "mare-riding", and women were believed to engage in sex with the devil. The painting incorporates a variety of imagery associated with these ideas, depicting a mare's head and a demon crouched atop the woman.Sleep and dreams were common subjects for the Zürich-born Henry Fuseli, though The Nightmare is unique among his paintings for its lack of reference to literary or religious themes . His first known painting is Joseph Interpreting the Dreams of the Butler and Baker of Pharaoh , and later he produced The Shepherd's Dream inspired by John Milton's Paradise Lost, and Richard&nbsp;III Visited by Ghosts based on Shakespeare's play.Fuseli's knowledge of art history was broad, allowing critics to propose sources for the painting's elements in antique, classical, and Renaissance art. According to art critic Nicholas Powell, the woman's pose may derive from the Vatican Ariadne, and the style of the incubus from figures at Selinunte, an archaeological site in Sicily. A source for the woman in Giulio Romano's The Dream of Hecuba at the Palazzo del Te has also been proposed. Powell links the horse to a woodcut by the German Renaissance artist Hans Baldung or to the marble Horse Tamers on Quirinal Hill, Rome. Fuseli may have added the horse as an afterthought, since a preliminary chalk sketch did not include it. Its presence in the painting has been viewed as a visual pun on the word "nightmare" and a self-conscious reference to folklore—the horse destabilises the painting's conceit and contributes to its Gothic tone.
section
In The Nightmare, how is the Description discussed?Please output in English.
[ "German Renaissance", "Giulio Romano", "Hans Baldung", "Henry Fuseli", "Horse Tamers", "John Milton", "Nightmare", "Palazzo del Te", "Paradise Lost", "Quirinal Hill", "Sicily" ]
56
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The painting is housed at the Detroit Institute of Arts. It was first shown at the Royal Academy of London in 1782, where it "excited&nbsp;... an uncommon degree of interest", The engraving was underscored by a short poem by Erasmus Darwin, "Night-Mare":Darwin included these lines and expanded upon them in his long poem The Loves of the Plants , for which Fuseli provided the frontispiece:</ref>}}
section
Focus on The Nightmare and explain the Exhibition.Please output in English.
[ "Detroit Institute of Arts", "Erasmus Darwin" ]
57
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The painting is housed at the Detroit Institute of Arts. It was first shown at the Royal Academy of London in 1782, where it "excited&nbsp;... an uncommon degree of interest", The engraving was underscored by a short poem by Erasmus Darwin, "Night-Mare":Darwin included these lines and expanded upon them in his long poem The Loves of the Plants , for which Fuseli provided the frontispiece:</ref>}}
section
Explain the Exhibition of this artwork, The Nightmare.Please output in English.
[ "Detroit Institute of Arts", "Erasmus Darwin" ]
58
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The painting is housed at the Detroit Institute of Arts. It was first shown at the Royal Academy of London in 1782, where it "excited&nbsp;... an uncommon degree of interest", The engraving was underscored by a short poem by Erasmus Darwin, "Night-Mare":Darwin included these lines and expanded upon them in his long poem The Loves of the Plants , for which Fuseli provided the frontispiece:</ref>}}
section
How does The Nightmare explain its Exhibition?Please output in English.
[ "Detroit Institute of Arts", "Erasmus Darwin" ]
59
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The painting is housed at the Detroit Institute of Arts. It was first shown at the Royal Academy of London in 1782, where it "excited&nbsp;... an uncommon degree of interest", The engraving was underscored by a short poem by Erasmus Darwin, "Night-Mare":Darwin included these lines and expanded upon them in his long poem The Loves of the Plants , for which Fuseli provided the frontispiece:</ref>}}
section
In The Nightmare, how is the Exhibition discussed?Please output in English.
[ "Detroit Institute of Arts", "Erasmus Darwin" ]
60
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
Contemporary critics often found the work scandalous due to its sexual themes. A few years earlier Fuseli had fallen for a woman named Anna ndholdt in Zürich, while travelling from Rome to London. ndholdt was the niece of his friend, the Swiss physiognomist Johann Kaspar vater. Fuseli wrote of his fantasies to vater in 1779; "st night I had her in bed with me—tossed my bedclothes hugger-mugger—wound my hot and tight-clasped hands about her—fused her body and soul together with my own—poured into her my spirit, breath and strength. Anyone who touches her now commits adultery and incest! She is mine, and I am hers. And have her I will.…" In Woman as Sex Object , Marcia Allentuck similarly argues that the painting's intent is to show female orgasm. This is supported by Fuseli's sexually overt and even pornographic private drawings . and its German equivalent, , evoke the image of a malevolent being that causes bad dreams by sitting on the chest of the sleeper.The Royal Academy exhibition brought Fuseli and his painting enduring fame. The exhibition included Shakespeare-themed works by Fuseli, which won him a commission to produce eight paintings for publisher John Boydell's Shakespeare Gallery. One version of The Nightmare hung in the home of Fuseli's close friend and publisher Joseph Johnson, gracing his weekly dinners for London thinkers and writers.Fuseli painted other versions of The Nightmare following the success of the first; at least three survive. The other important canvas was painted between 1790 and 1791 and is held at the Goethe Museum in Frankfurt. It is smaller than the original, and the woman's head lies to the left; a mirror opposes her on the right. The demon is looking at the woman rather than out of the picture, and it has pointed, catlike ears. The most significant difference in the remaining two versions is an erotic statuette of a couple on the table.
section
Focus on The Nightmare and explain the Interpretation.Please output in English.
[ "John Boydell", "Nightmare" ]
61
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
Contemporary critics often found the work scandalous due to its sexual themes. A few years earlier Fuseli had fallen for a woman named Anna ndholdt in Zürich, while travelling from Rome to London. ndholdt was the niece of his friend, the Swiss physiognomist Johann Kaspar vater. Fuseli wrote of his fantasies to vater in 1779; "st night I had her in bed with me—tossed my bedclothes hugger-mugger—wound my hot and tight-clasped hands about her—fused her body and soul together with my own—poured into her my spirit, breath and strength. Anyone who touches her now commits adultery and incest! She is mine, and I am hers. And have her I will.…" In Woman as Sex Object , Marcia Allentuck similarly argues that the painting's intent is to show female orgasm. This is supported by Fuseli's sexually overt and even pornographic private drawings . and its German equivalent, , evoke the image of a malevolent being that causes bad dreams by sitting on the chest of the sleeper.The Royal Academy exhibition brought Fuseli and his painting enduring fame. The exhibition included Shakespeare-themed works by Fuseli, which won him a commission to produce eight paintings for publisher John Boydell's Shakespeare Gallery. One version of The Nightmare hung in the home of Fuseli's close friend and publisher Joseph Johnson, gracing his weekly dinners for London thinkers and writers.Fuseli painted other versions of The Nightmare following the success of the first; at least three survive. The other important canvas was painted between 1790 and 1791 and is held at the Goethe Museum in Frankfurt. It is smaller than the original, and the woman's head lies to the left; a mirror opposes her on the right. The demon is looking at the woman rather than out of the picture, and it has pointed, catlike ears. The most significant difference in the remaining two versions is an erotic statuette of a couple on the table.
section
Explain the Interpretation of this artwork, The Nightmare.Please output in English.
[ "John Boydell", "Nightmare" ]
62
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
Contemporary critics often found the work scandalous due to its sexual themes. A few years earlier Fuseli had fallen for a woman named Anna ndholdt in Zürich, while travelling from Rome to London. ndholdt was the niece of his friend, the Swiss physiognomist Johann Kaspar vater. Fuseli wrote of his fantasies to vater in 1779; "st night I had her in bed with me—tossed my bedclothes hugger-mugger—wound my hot and tight-clasped hands about her—fused her body and soul together with my own—poured into her my spirit, breath and strength. Anyone who touches her now commits adultery and incest! She is mine, and I am hers. And have her I will.…" In Woman as Sex Object , Marcia Allentuck similarly argues that the painting's intent is to show female orgasm. This is supported by Fuseli's sexually overt and even pornographic private drawings . and its German equivalent, , evoke the image of a malevolent being that causes bad dreams by sitting on the chest of the sleeper.The Royal Academy exhibition brought Fuseli and his painting enduring fame. The exhibition included Shakespeare-themed works by Fuseli, which won him a commission to produce eight paintings for publisher John Boydell's Shakespeare Gallery. One version of The Nightmare hung in the home of Fuseli's close friend and publisher Joseph Johnson, gracing his weekly dinners for London thinkers and writers.Fuseli painted other versions of The Nightmare following the success of the first; at least three survive. The other important canvas was painted between 1790 and 1791 and is held at the Goethe Museum in Frankfurt. It is smaller than the original, and the woman's head lies to the left; a mirror opposes her on the right. The demon is looking at the woman rather than out of the picture, and it has pointed, catlike ears. The most significant difference in the remaining two versions is an erotic statuette of a couple on the table.
section
How does The Nightmare explain its Interpretation?Please output in English.
[ "John Boydell", "Nightmare" ]
63
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
Contemporary critics often found the work scandalous due to its sexual themes. A few years earlier Fuseli had fallen for a woman named Anna ndholdt in Zürich, while travelling from Rome to London. ndholdt was the niece of his friend, the Swiss physiognomist Johann Kaspar vater. Fuseli wrote of his fantasies to vater in 1779; "st night I had her in bed with me—tossed my bedclothes hugger-mugger—wound my hot and tight-clasped hands about her—fused her body and soul together with my own—poured into her my spirit, breath and strength. Anyone who touches her now commits adultery and incest! She is mine, and I am hers. And have her I will.…" In Woman as Sex Object , Marcia Allentuck similarly argues that the painting's intent is to show female orgasm. This is supported by Fuseli's sexually overt and even pornographic private drawings . and its German equivalent, , evoke the image of a malevolent being that causes bad dreams by sitting on the chest of the sleeper.The Royal Academy exhibition brought Fuseli and his painting enduring fame. The exhibition included Shakespeare-themed works by Fuseli, which won him a commission to produce eight paintings for publisher John Boydell's Shakespeare Gallery. One version of The Nightmare hung in the home of Fuseli's close friend and publisher Joseph Johnson, gracing his weekly dinners for London thinkers and writers.Fuseli painted other versions of The Nightmare following the success of the first; at least three survive. The other important canvas was painted between 1790 and 1791 and is held at the Goethe Museum in Frankfurt. It is smaller than the original, and the woman's head lies to the left; a mirror opposes her on the right. The demon is looking at the woman rather than out of the picture, and it has pointed, catlike ears. The most significant difference in the remaining two versions is an erotic statuette of a couple on the table.
section
In The Nightmare, how is the Interpretation discussed?Please output in English.
[ "John Boydell", "Nightmare" ]
64
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The Nightmare was widely plagiarised, and parodies of it were commonly used for political caricature, by George Cruikshank, Thomas Rowlandson, and others. In these satirical scenes, the incubus afflicts subjects such as Napoleon Bonaparte, Louis XVIII, British politician Charles James Fox, and Prime Minister William Pitt. In another example, admiral Lord Nelson is the demon, and his mistress Emma, dy Hamilton, the sleeper.While some observers have viewed the parodies as mocking Fuseli, it is more likely that The Nightmare was simply a vehicle for ridicule of the caricatured subject. The Danish painter, Nicolai Abraham Abildgaard, whom Fuseli had met in Rome, produced his own version of The Nightmare which develops on the eroticism of Fuseli's work. Abildgaard's painting shows two naked women asleep in the bed; it is the woman in the foreground who is experiencing the nightmare and the incubus—which is crouched on the woman's stomach, facing her parted legs—has its tail nestling between her exposed breasts.Yje German-Danish painter Fitlev Blunck created another version of the painting in 1846 .
section
Focus on The Nightmare and explain the Worksbyotherartists.Please output in English.
[ "Charles James Fox", "Fitlev Blunck", "George Cruikshank", "Louis XVIII", "Napoleon", "Nightmare", "Thomas Rowlandson" ]
65
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The Nightmare was widely plagiarised, and parodies of it were commonly used for political caricature, by George Cruikshank, Thomas Rowlandson, and others. In these satirical scenes, the incubus afflicts subjects such as Napoleon Bonaparte, Louis XVIII, British politician Charles James Fox, and Prime Minister William Pitt. In another example, admiral Lord Nelson is the demon, and his mistress Emma, dy Hamilton, the sleeper.While some observers have viewed the parodies as mocking Fuseli, it is more likely that The Nightmare was simply a vehicle for ridicule of the caricatured subject. The Danish painter, Nicolai Abraham Abildgaard, whom Fuseli had met in Rome, produced his own version of The Nightmare which develops on the eroticism of Fuseli's work. Abildgaard's painting shows two naked women asleep in the bed; it is the woman in the foreground who is experiencing the nightmare and the incubus—which is crouched on the woman's stomach, facing her parted legs—has its tail nestling between her exposed breasts.Yje German-Danish painter Fitlev Blunck created another version of the painting in 1846 .
section
Explain the Worksbyotherartists of this artwork, The Nightmare.Please output in English.
[ "Charles James Fox", "Fitlev Blunck", "George Cruikshank", "Louis XVIII", "Napoleon", "Nightmare", "Thomas Rowlandson" ]
66
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The Nightmare was widely plagiarised, and parodies of it were commonly used for political caricature, by George Cruikshank, Thomas Rowlandson, and others. In these satirical scenes, the incubus afflicts subjects such as Napoleon Bonaparte, Louis XVIII, British politician Charles James Fox, and Prime Minister William Pitt. In another example, admiral Lord Nelson is the demon, and his mistress Emma, dy Hamilton, the sleeper.While some observers have viewed the parodies as mocking Fuseli, it is more likely that The Nightmare was simply a vehicle for ridicule of the caricatured subject. The Danish painter, Nicolai Abraham Abildgaard, whom Fuseli had met in Rome, produced his own version of The Nightmare which develops on the eroticism of Fuseli's work. Abildgaard's painting shows two naked women asleep in the bed; it is the woman in the foreground who is experiencing the nightmare and the incubus—which is crouched on the woman's stomach, facing her parted legs—has its tail nestling between her exposed breasts.Yje German-Danish painter Fitlev Blunck created another version of the painting in 1846 .
section
How does The Nightmare explain its Worksbyotherartists?Please output in English.
[ "Charles James Fox", "Fitlev Blunck", "George Cruikshank", "Louis XVIII", "Napoleon", "Nightmare", "Thomas Rowlandson" ]
67
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The Nightmare was widely plagiarised, and parodies of it were commonly used for political caricature, by George Cruikshank, Thomas Rowlandson, and others. In these satirical scenes, the incubus afflicts subjects such as Napoleon Bonaparte, Louis XVIII, British politician Charles James Fox, and Prime Minister William Pitt. In another example, admiral Lord Nelson is the demon, and his mistress Emma, dy Hamilton, the sleeper.While some observers have viewed the parodies as mocking Fuseli, it is more likely that The Nightmare was simply a vehicle for ridicule of the caricatured subject. The Danish painter, Nicolai Abraham Abildgaard, whom Fuseli had met in Rome, produced his own version of The Nightmare which develops on the eroticism of Fuseli's work. Abildgaard's painting shows two naked women asleep in the bed; it is the woman in the foreground who is experiencing the nightmare and the incubus—which is crouched on the woman's stomach, facing her parted legs—has its tail nestling between her exposed breasts.Yje German-Danish painter Fitlev Blunck created another version of the painting in 1846 .
section
In The Nightmare, how is the Worksbyotherartists discussed?Please output in English.
[ "Charles James Fox", "Fitlev Blunck", "George Cruikshank", "Louis XVIII", "Napoleon", "Nightmare", "Thomas Rowlandson" ]
68
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
Recent exhibit and publication: Jones, E. On the Nightmare. London: Hogarth Press and Institute of Psycho-Analysis, 1931.
section
Focus on The Nightmare and explain the Furtherreading.Please output in English.
[ "Nightmare" ]
69
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
Recent exhibit and publication: Jones, E. On the Nightmare. London: Hogarth Press and Institute of Psycho-Analysis, 1931.
section
Explain the Furtherreading of this artwork, The Nightmare.Please output in English.
[ "Nightmare" ]
70
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
Recent exhibit and publication: Jones, E. On the Nightmare. London: Hogarth Press and Institute of Psycho-Analysis, 1931.
section
How does The Nightmare explain its Furtherreading?Please output in English.
[ "Nightmare" ]
71
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
Recent exhibit and publication: Jones, E. On the Nightmare. London: Hogarth Press and Institute of Psycho-Analysis, 1931.
section
In The Nightmare, how is the Furtherreading discussed?Please output in English.
[ "Nightmare" ]
72
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The Nightmare likely influenced Mary Shelley in a scene from her famous Gothic novel Frankenstein; or, The Modern Prometheus . Shelley would have been familiar with the painting; her parents, Mary Wollstonecraft and William Godwin, knew Fuseli. The iconic imagery associated with the Creature's murder of the protagonist Victor's wife seems to draw from the canvas: "She was there, lifeless and inanimate, thrown across the bed, her head hanging down, and her pale and distorted features half covered by hair."Edgar Allan Poe may have evoked The Nightmare in his short story "The Fall of the House of Usher" . His narrator compares a painting hanging in Usher's house to a Fuseli work, and reveals that an "irrepressible tremor gradually pervaded my frame; and, at length, there sat upon my heart an incubus of utterly causeless alarm".
subsection
In the context of The Nightmare, explain the Influenceonliterature and the Worksbyotherartists.Please output in English.
[ "Edgar Allan Poe", "Frankenstein", "Mary Shelley", "Mary Wollstonecraft", "Nightmare", "The Fall of the House of Usher", "William Godwin" ]
73
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The Nightmare likely influenced Mary Shelley in a scene from her famous Gothic novel Frankenstein; or, The Modern Prometheus . Shelley would have been familiar with the painting; her parents, Mary Wollstonecraft and William Godwin, knew Fuseli. The iconic imagery associated with the Creature's murder of the protagonist Victor's wife seems to draw from the canvas: "She was there, lifeless and inanimate, thrown across the bed, her head hanging down, and her pale and distorted features half covered by hair."Edgar Allan Poe may have evoked The Nightmare in his short story "The Fall of the House of Usher" . His narrator compares a painting hanging in Usher's house to a Fuseli work, and reveals that an "irrepressible tremor gradually pervaded my frame; and, at length, there sat upon my heart an incubus of utterly causeless alarm".
subsection
Explain the Influenceonliterature about the Worksbyotherartists of this artwork, The Nightmare.Please output in English.
[ "Edgar Allan Poe", "Frankenstein", "Mary Shelley", "Mary Wollstonecraft", "Nightmare", "The Fall of the House of Usher", "William Godwin" ]
74
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The Nightmare likely influenced Mary Shelley in a scene from her famous Gothic novel Frankenstein; or, The Modern Prometheus . Shelley would have been familiar with the painting; her parents, Mary Wollstonecraft and William Godwin, knew Fuseli. The iconic imagery associated with the Creature's murder of the protagonist Victor's wife seems to draw from the canvas: "She was there, lifeless and inanimate, thrown across the bed, her head hanging down, and her pale and distorted features half covered by hair."Edgar Allan Poe may have evoked The Nightmare in his short story "The Fall of the House of Usher" . His narrator compares a painting hanging in Usher's house to a Fuseli work, and reveals that an "irrepressible tremor gradually pervaded my frame; and, at length, there sat upon my heart an incubus of utterly causeless alarm".
subsection
In The Nightmare, how is the Influenceonliterature of the Worksbyotherartists explained?Please output in English.
[ "Edgar Allan Poe", "Frankenstein", "Mary Shelley", "Mary Wollstonecraft", "Nightmare", "The Fall of the House of Usher", "William Godwin" ]
75
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
The Nightmare likely influenced Mary Shelley in a scene from her famous Gothic novel Frankenstein; or, The Modern Prometheus . Shelley would have been familiar with the painting; her parents, Mary Wollstonecraft and William Godwin, knew Fuseli. The iconic imagery associated with the Creature's murder of the protagonist Victor's wife seems to draw from the canvas: "She was there, lifeless and inanimate, thrown across the bed, her head hanging down, and her pale and distorted features half covered by hair."Edgar Allan Poe may have evoked The Nightmare in his short story "The Fall of the House of Usher" . His narrator compares a painting hanging in Usher's house to a Fuseli work, and reveals that an "irrepressible tremor gradually pervaded my frame; and, at length, there sat upon my heart an incubus of utterly causeless alarm".
subsection
Describe the characteristics of the Influenceonliterature in The Nightmare's Worksbyotherartists.Please output in English.
[ "Edgar Allan Poe", "Frankenstein", "Mary Shelley", "Mary Wollstonecraft", "Nightmare", "The Fall of the House of Usher", "William Godwin" ]
76
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
Fuseli's Nightmare reverberated with twentieth-century psychological theorists. In 1926, American writer Max Eastman paid a visit to Sigmund Freud and claimed to have seen a print of The Nightmare displayed next to Rembrandt's The Anatomy Lesson in Freud's Vienna apartment. Psychoanalyst and Freud biographer Ernest Jones chose another version of Fuseli's painting as the frontispiece of his book On the Nightmare ; however, neither Freud nor Jones mentioned these paintings in their writings about dreams. Carl Jung included The Nightmare and other Fuseli works in his Man and His Symbols .Tate Britain held an exhibition titled Gothic Nightmares: Fuseli, Blake and the Romantic Imagination between 15 February and 1 May 2006, with the Nightmare as the central exhibit. The catalogue indicated the painting's influence on films such as the original Frankenstein and The Marquise of O . Among modern artists, Balthus incorporated elements of The Nightmare in his work .The 2015 documentary The Nightmare may be a reference to the painting as it documents sleep paralysis sufferers .Famous drag queen Katya Zamolodchikova released an EP titled Vampire Fitness in November 2020. The EP cover art is a direct reference to The Nightmare, with Katya portraying both the woman and the demon over her body. She even included a horse statue in one corner of the room. It serves as a modern reinterpretation of the painting, with the woman appearing completely nude, except for a pair of sunglasses.In February 2021, In January 2023 Martin Rowson produced a cartoon, "after Fuseli ", for The Guardian to comment on the ethical problems of the government of the United Kingdom, with a Conservative Party majority. The cartoon features Rishi Sunak, Boris Johnson, and Nadhim Zahawi plus a horse with a hot water bottle.
subsection
In the context of The Nightmare, explain the Inthetwentiethandtwenty-firstcenturies and the Worksbyotherartists.Please output in English.
[ "Balthus", "Boris Johnson", "Carl Jung", "Ernest Jones", "Frankenstein", "Katya Zamolodchikova", "Man and His Symbols", "Martin Rowson", "Max Eastman", "Nadhim Zahawi", "Nightmare", "Rishi Sunak", "Sigmund Freud", "Tate Britain", "The Guardian", "Vampire Fitness", "Vienna" ]
77
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
Fuseli's Nightmare reverberated with twentieth-century psychological theorists. In 1926, American writer Max Eastman paid a visit to Sigmund Freud and claimed to have seen a print of The Nightmare displayed next to Rembrandt's The Anatomy Lesson in Freud's Vienna apartment. Psychoanalyst and Freud biographer Ernest Jones chose another version of Fuseli's painting as the frontispiece of his book On the Nightmare ; however, neither Freud nor Jones mentioned these paintings in their writings about dreams. Carl Jung included The Nightmare and other Fuseli works in his Man and His Symbols .Tate Britain held an exhibition titled Gothic Nightmares: Fuseli, Blake and the Romantic Imagination between 15 February and 1 May 2006, with the Nightmare as the central exhibit. The catalogue indicated the painting's influence on films such as the original Frankenstein and The Marquise of O . Among modern artists, Balthus incorporated elements of The Nightmare in his work .The 2015 documentary The Nightmare may be a reference to the painting as it documents sleep paralysis sufferers .Famous drag queen Katya Zamolodchikova released an EP titled Vampire Fitness in November 2020. The EP cover art is a direct reference to The Nightmare, with Katya portraying both the woman and the demon over her body. She even included a horse statue in one corner of the room. It serves as a modern reinterpretation of the painting, with the woman appearing completely nude, except for a pair of sunglasses.In February 2021, In January 2023 Martin Rowson produced a cartoon, "after Fuseli ", for The Guardian to comment on the ethical problems of the government of the United Kingdom, with a Conservative Party majority. The cartoon features Rishi Sunak, Boris Johnson, and Nadhim Zahawi plus a horse with a hot water bottle.
subsection
Explain the Inthetwentiethandtwenty-firstcenturies about the Worksbyotherartists of this artwork, The Nightmare.Please output in English.
[ "Balthus", "Boris Johnson", "Carl Jung", "Ernest Jones", "Frankenstein", "Katya Zamolodchikova", "Man and His Symbols", "Martin Rowson", "Max Eastman", "Nadhim Zahawi", "Nightmare", "Rishi Sunak", "Sigmund Freud", "Tate Britain", "The Guardian", "Vampire Fitness", "Vienna" ]
78
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
Fuseli's Nightmare reverberated with twentieth-century psychological theorists. In 1926, American writer Max Eastman paid a visit to Sigmund Freud and claimed to have seen a print of The Nightmare displayed next to Rembrandt's The Anatomy Lesson in Freud's Vienna apartment. Psychoanalyst and Freud biographer Ernest Jones chose another version of Fuseli's painting as the frontispiece of his book On the Nightmare ; however, neither Freud nor Jones mentioned these paintings in their writings about dreams. Carl Jung included The Nightmare and other Fuseli works in his Man and His Symbols .Tate Britain held an exhibition titled Gothic Nightmares: Fuseli, Blake and the Romantic Imagination between 15 February and 1 May 2006, with the Nightmare as the central exhibit. The catalogue indicated the painting's influence on films such as the original Frankenstein and The Marquise of O . Among modern artists, Balthus incorporated elements of The Nightmare in his work .The 2015 documentary The Nightmare may be a reference to the painting as it documents sleep paralysis sufferers .Famous drag queen Katya Zamolodchikova released an EP titled Vampire Fitness in November 2020. The EP cover art is a direct reference to The Nightmare, with Katya portraying both the woman and the demon over her body. She even included a horse statue in one corner of the room. It serves as a modern reinterpretation of the painting, with the woman appearing completely nude, except for a pair of sunglasses.In February 2021, In January 2023 Martin Rowson produced a cartoon, "after Fuseli ", for The Guardian to comment on the ethical problems of the government of the United Kingdom, with a Conservative Party majority. The cartoon features Rishi Sunak, Boris Johnson, and Nadhim Zahawi plus a horse with a hot water bottle.
subsection
In The Nightmare, how is the Inthetwentiethandtwenty-firstcenturies of the Worksbyotherartists explained?Please output in English.
[ "Balthus", "Boris Johnson", "Carl Jung", "Ernest Jones", "Frankenstein", "Katya Zamolodchikova", "Man and His Symbols", "Martin Rowson", "Max Eastman", "Nadhim Zahawi", "Nightmare", "Rishi Sunak", "Sigmund Freud", "Tate Britain", "The Guardian", "Vampire Fitness", "Vienna" ]
79
The Nightmare
The Nightmare
https://upload.wikimedia…mare%2C_1781.jpg
null
Fuseli's Nightmare reverberated with twentieth-century psychological theorists. In 1926, American writer Max Eastman paid a visit to Sigmund Freud and claimed to have seen a print of The Nightmare displayed next to Rembrandt's The Anatomy Lesson in Freud's Vienna apartment. Psychoanalyst and Freud biographer Ernest Jones chose another version of Fuseli's painting as the frontispiece of his book On the Nightmare ; however, neither Freud nor Jones mentioned these paintings in their writings about dreams. Carl Jung included The Nightmare and other Fuseli works in his Man and His Symbols .Tate Britain held an exhibition titled Gothic Nightmares: Fuseli, Blake and the Romantic Imagination between 15 February and 1 May 2006, with the Nightmare as the central exhibit. The catalogue indicated the painting's influence on films such as the original Frankenstein and The Marquise of O . Among modern artists, Balthus incorporated elements of The Nightmare in his work .The 2015 documentary The Nightmare may be a reference to the painting as it documents sleep paralysis sufferers .Famous drag queen Katya Zamolodchikova released an EP titled Vampire Fitness in November 2020. The EP cover art is a direct reference to The Nightmare, with Katya portraying both the woman and the demon over her body. She even included a horse statue in one corner of the room. It serves as a modern reinterpretation of the painting, with the woman appearing completely nude, except for a pair of sunglasses.In February 2021, In January 2023 Martin Rowson produced a cartoon, "after Fuseli ", for The Guardian to comment on the ethical problems of the government of the United Kingdom, with a Conservative Party majority. The cartoon features Rishi Sunak, Boris Johnson, and Nadhim Zahawi plus a horse with a hot water bottle.
subsection
Describe the characteristics of the Inthetwentiethandtwenty-firstcenturies in The Nightmare's Worksbyotherartists.Please output in English.
[ "Balthus", "Boris Johnson", "Carl Jung", "Ernest Jones", "Frankenstein", "Katya Zamolodchikova", "Man and His Symbols", "Martin Rowson", "Max Eastman", "Nadhim Zahawi", "Nightmare", "Rishi Sunak", "Sigmund Freud", "Tate Britain", "The Guardian", "Vampire Fitness", "Vienna" ]
80
She-Guardian
She-Guardian
https://upload.wikimedia…London_2015.jpeg
null
She-Guardian is a landscape sculpture by Russian sculptor Dashi Namdakov. It depicts a mythical winged creature standing guard over her young. The statue is high to the tip of the wings.In May 2015, the monument was installed in the "City of Sculpture" temporary art space next to Cumberland Gate at London's Marble Arch. This was arranged by the Halcyon Gallery, with approval and consent of the Westminster Council. It remained there until 2016.Some people say the sculpture exhibits an aggressive posture but Namdakov said: "I've never seen any threat in its open mouth. I recognized it as defense of the youth and protection of the family."
section
Focus on She-Guardian and explain the Abstract.Please output in English.
[ "Dashi Namdakov", "Halcyon Gallery", "Marble Arch" ]
81
She-Guardian
She-Guardian
https://upload.wikimedia…London_2015.jpeg
null
She-Guardian is a landscape sculpture by Russian sculptor Dashi Namdakov. It depicts a mythical winged creature standing guard over her young. The statue is high to the tip of the wings.In May 2015, the monument was installed in the "City of Sculpture" temporary art space next to Cumberland Gate at London's Marble Arch. This was arranged by the Halcyon Gallery, with approval and consent of the Westminster Council. It remained there until 2016.Some people say the sculpture exhibits an aggressive posture but Namdakov said: "I've never seen any threat in its open mouth. I recognized it as defense of the youth and protection of the family."
section
Explain the Abstract of this artwork, She-Guardian.Please output in English.
[ "Dashi Namdakov", "Halcyon Gallery", "Marble Arch" ]
82
She-Guardian
She-Guardian
https://upload.wikimedia…London_2015.jpeg
null
She-Guardian is a landscape sculpture by Russian sculptor Dashi Namdakov. It depicts a mythical winged creature standing guard over her young. The statue is high to the tip of the wings.In May 2015, the monument was installed in the "City of Sculpture" temporary art space next to Cumberland Gate at London's Marble Arch. This was arranged by the Halcyon Gallery, with approval and consent of the Westminster Council. It remained there until 2016.Some people say the sculpture exhibits an aggressive posture but Namdakov said: "I've never seen any threat in its open mouth. I recognized it as defense of the youth and protection of the family."
section
How does She-Guardian explain its Abstract?Please output in English.
[ "Dashi Namdakov", "Halcyon Gallery", "Marble Arch" ]
83
She-Guardian
She-Guardian
https://upload.wikimedia…London_2015.jpeg
null
She-Guardian is a landscape sculpture by Russian sculptor Dashi Namdakov. It depicts a mythical winged creature standing guard over her young. The statue is high to the tip of the wings.In May 2015, the monument was installed in the "City of Sculpture" temporary art space next to Cumberland Gate at London's Marble Arch. This was arranged by the Halcyon Gallery, with approval and consent of the Westminster Council. It remained there until 2016.Some people say the sculpture exhibits an aggressive posture but Namdakov said: "I've never seen any threat in its open mouth. I recognized it as defense of the youth and protection of the family."
section
In She-Guardian, how is the Abstract discussed?Please output in English.
[ "Dashi Namdakov", "Halcyon Gallery", "Marble Arch" ]
84
She-Guardian
She-Guardian
https://upload.wikimedia…London_2015.jpeg
null
The idea for the work came to Dashi from a lynx skull, given to him by Siberian hunters. The statue was realized by an Italian famous foundry based in Pietrasanta: Fonderia d'arte Massimo del Chiaro.
section
Focus on She-Guardian and explain the Production.Please output in English.
[]
85
She-Guardian
She-Guardian
https://upload.wikimedia…London_2015.jpeg
null
The idea for the work came to Dashi from a lynx skull, given to him by Siberian hunters. The statue was realized by an Italian famous foundry based in Pietrasanta: Fonderia d'arte Massimo del Chiaro.
section
Explain the Production of this artwork, She-Guardian.Please output in English.
[]
86
She-Guardian
She-Guardian
https://upload.wikimedia…London_2015.jpeg
null
The idea for the work came to Dashi from a lynx skull, given to him by Siberian hunters. The statue was realized by an Italian famous foundry based in Pietrasanta: Fonderia d'arte Massimo del Chiaro.
section
How does She-Guardian explain its Production?Please output in English.
[]
87
She-Guardian
She-Guardian
https://upload.wikimedia…London_2015.jpeg
null
The idea for the work came to Dashi from a lynx skull, given to him by Siberian hunters. The statue was realized by an Italian famous foundry based in Pietrasanta: Fonderia d'arte Massimo del Chiaro.
section
In She-Guardian, how is the Production discussed?Please output in English.
[]
88
She-Guardian
She-Guardian
https://upload.wikimedia…London_2015.jpeg
null
Category:2015 sculpturesCategory:English contemporary works of artCategory:Bronze sculptures in the City of WestminsterCategory:2015 in EnglandCategory:Statues in the City of Westminster
section
Focus on She-Guardian and explain the References.Please output in English.
[]
89
She-Guardian
She-Guardian
https://upload.wikimedia…London_2015.jpeg
null
Category:2015 sculpturesCategory:English contemporary works of artCategory:Bronze sculptures in the City of WestminsterCategory:2015 in EnglandCategory:Statues in the City of Westminster
section
Explain the References of this artwork, She-Guardian.Please output in English.
[]
90
She-Guardian
She-Guardian
https://upload.wikimedia…London_2015.jpeg
null
Category:2015 sculpturesCategory:English contemporary works of artCategory:Bronze sculptures in the City of WestminsterCategory:2015 in EnglandCategory:Statues in the City of Westminster
section
How does She-Guardian explain its References?Please output in English.
[]
91
She-Guardian
She-Guardian
https://upload.wikimedia…London_2015.jpeg
null
Category:2015 sculpturesCategory:English contemporary works of artCategory:Bronze sculptures in the City of WestminsterCategory:2015 in EnglandCategory:Statues in the City of Westminster
section
In She-Guardian, how is the References discussed?Please output in English.
[]
92
Universal Man
Universal Man
https://upload.wikimedia…niversal_Man.JPG
null
completion_date = catalogue = medium = movement = subject = height_metric = width_metric = length_metric = diameter_metric = height_imperial = width_imperial = length_imperial = diameter_imperial = dimensions = dimensions_ref = metric_unit = cm imperial_unit = in weight = designation = condition = museum = city = coordinates = mapframe = yes mapframe-zoom = 13 owner = Oxford Properties accession = preceded_by = followed_by = module = website = }}Universal Man is a sculpture by Gerald Gladstone located outside the Yorkdale Shopping Centre in North York, Toronto, Ontario, Canada, since 1994. The bronze figure was originally located in a prominent location at the foot of the CN Tower, there located to "emphasize the human aspects of the project". It was commissioned by CN Rail in 1972 at a cost of approximately $100,000 and the statue was unveiled in 1976. At the time of unveiling, it was the largest statue cast by the Morris Singer foundry. Until 1987, the statue was the centrepiece of a plaza near the CN Tower that was popular with tourists. In 1994, it was restored to public view by the government of North York who placed it by the Dufferin entrance to Yorkdale Mall. This was to Gladstone's satisfaction.Since the municipalities that made up Metropolitan Toronto were amalgamated into the current city of Toronto in 1998, ownership of the sculpture was transferred to Oxford Properties, owner of Yorkdale Shopping Centre.
section
Focus on Universal Man and explain the Abstract.Please output in English.
[ "CN Tower", "Gerald Gladstone", "Metropolitan Toronto", "Morris Singer", "North York", "Ontario", "Oxford Properties", "Toronto", "Yorkdale Shopping Centre" ]
93
Universal Man
Universal Man
https://upload.wikimedia…niversal_Man.JPG
null
completion_date = catalogue = medium = movement = subject = height_metric = width_metric = length_metric = diameter_metric = height_imperial = width_imperial = length_imperial = diameter_imperial = dimensions = dimensions_ref = metric_unit = cm imperial_unit = in weight = designation = condition = museum = city = coordinates = mapframe = yes mapframe-zoom = 13 owner = Oxford Properties accession = preceded_by = followed_by = module = website = }}Universal Man is a sculpture by Gerald Gladstone located outside the Yorkdale Shopping Centre in North York, Toronto, Ontario, Canada, since 1994. The bronze figure was originally located in a prominent location at the foot of the CN Tower, there located to "emphasize the human aspects of the project". It was commissioned by CN Rail in 1972 at a cost of approximately $100,000 and the statue was unveiled in 1976. At the time of unveiling, it was the largest statue cast by the Morris Singer foundry. Until 1987, the statue was the centrepiece of a plaza near the CN Tower that was popular with tourists. In 1994, it was restored to public view by the government of North York who placed it by the Dufferin entrance to Yorkdale Mall. This was to Gladstone's satisfaction.Since the municipalities that made up Metropolitan Toronto were amalgamated into the current city of Toronto in 1998, ownership of the sculpture was transferred to Oxford Properties, owner of Yorkdale Shopping Centre.
section
Explain the Abstract of this artwork, Universal Man.Please output in English.
[ "CN Tower", "Gerald Gladstone", "Metropolitan Toronto", "Morris Singer", "North York", "Ontario", "Oxford Properties", "Toronto", "Yorkdale Shopping Centre" ]
94
Universal Man
Universal Man
https://upload.wikimedia…niversal_Man.JPG
null
completion_date = catalogue = medium = movement = subject = height_metric = width_metric = length_metric = diameter_metric = height_imperial = width_imperial = length_imperial = diameter_imperial = dimensions = dimensions_ref = metric_unit = cm imperial_unit = in weight = designation = condition = museum = city = coordinates = mapframe = yes mapframe-zoom = 13 owner = Oxford Properties accession = preceded_by = followed_by = module = website = }}Universal Man is a sculpture by Gerald Gladstone located outside the Yorkdale Shopping Centre in North York, Toronto, Ontario, Canada, since 1994. The bronze figure was originally located in a prominent location at the foot of the CN Tower, there located to "emphasize the human aspects of the project". It was commissioned by CN Rail in 1972 at a cost of approximately $100,000 and the statue was unveiled in 1976. At the time of unveiling, it was the largest statue cast by the Morris Singer foundry. Until 1987, the statue was the centrepiece of a plaza near the CN Tower that was popular with tourists. In 1994, it was restored to public view by the government of North York who placed it by the Dufferin entrance to Yorkdale Mall. This was to Gladstone's satisfaction.Since the municipalities that made up Metropolitan Toronto were amalgamated into the current city of Toronto in 1998, ownership of the sculpture was transferred to Oxford Properties, owner of Yorkdale Shopping Centre.
section
How does Universal Man explain its Abstract?Please output in English.
[ "CN Tower", "Gerald Gladstone", "Metropolitan Toronto", "Morris Singer", "North York", "Ontario", "Oxford Properties", "Toronto", "Yorkdale Shopping Centre" ]
95
Universal Man
Universal Man
https://upload.wikimedia…niversal_Man.JPG
null
completion_date = catalogue = medium = movement = subject = height_metric = width_metric = length_metric = diameter_metric = height_imperial = width_imperial = length_imperial = diameter_imperial = dimensions = dimensions_ref = metric_unit = cm imperial_unit = in weight = designation = condition = museum = city = coordinates = mapframe = yes mapframe-zoom = 13 owner = Oxford Properties accession = preceded_by = followed_by = module = website = }}Universal Man is a sculpture by Gerald Gladstone located outside the Yorkdale Shopping Centre in North York, Toronto, Ontario, Canada, since 1994. The bronze figure was originally located in a prominent location at the foot of the CN Tower, there located to "emphasize the human aspects of the project". It was commissioned by CN Rail in 1972 at a cost of approximately $100,000 and the statue was unveiled in 1976. At the time of unveiling, it was the largest statue cast by the Morris Singer foundry. Until 1987, the statue was the centrepiece of a plaza near the CN Tower that was popular with tourists. In 1994, it was restored to public view by the government of North York who placed it by the Dufferin entrance to Yorkdale Mall. This was to Gladstone's satisfaction.Since the municipalities that made up Metropolitan Toronto were amalgamated into the current city of Toronto in 1998, ownership of the sculpture was transferred to Oxford Properties, owner of Yorkdale Shopping Centre.
section
In Universal Man, how is the Abstract discussed?Please output in English.
[ "CN Tower", "Gerald Gladstone", "Metropolitan Toronto", "Morris Singer", "North York", "Ontario", "Oxford Properties", "Toronto", "Yorkdale Shopping Centre" ]
96
Archibald Willard
Archibald Willard
https://upload.wikimedia…bald_Willard.jpg
null
birth_place = Bedford, Ohio, U.S. death_date = death_place = U.S. known_for = Painting training = movement = notable_works = The Spirit of '76 }}Archibald MacNeal Willard was an American painter who was born and raised in Bedford, Ohio. He was the son of Samuel Willard, the pastor of Bedford Baptist Church.Willard had an interest in art ever since he was a child and often scribbled on barns and other structures at home. As a young man, Willard moved to Wellington, Ohio and began working for wagon maker E.S. Tripp. He began as a basic wagon painter, but eventually was allowed to paint elaborate decorations that were popular at the time. Willard joined the 86th Ohio Infantry Regiment in 1863 and fought in the Civil War, but was not heavily involved. During this time, he painted several scenes from the war.After the war, Willard created a pair of paintings for Tripp's daughter, Addie, called Pluck and Pluck No. 2. The first of the two features three children being carted by a dog chasing a rabbit, while in the second, the children and their cart have crashed due to their reckless pursuit. These paintings, among earlier sketches, forged a relationship between him and photographer James F. Ryder. Ryder made much of his money in chromolithography, printing popular and marketable images for the average household. He saw a potential in Willard to create humorous and cheerful paintings to make profits. Willard also painted three murals in the main hall of the Fayette County courthouse in Washington Court House, Ohio: The Spirit of Electricity, The Spirit of Telegraphy, and The Spirit of the Mail.Willard is buried in Wellington, Ohio at the Greenwood Cemetery. He is commemorated by a Willard Avenue in his birthplace of Bedford and a Willard Drive in nearby Garfield Heights.
section
Focus on Archibald Willard and explain the Abstract.Please output in English.
[ "86th Ohio Infantry Regiment", "Bedford, Ohio", "Washington Court House, Ohio", "Wellington, Ohio" ]
97
Archibald Willard
Archibald Willard
https://upload.wikimedia…bald_Willard.jpg
null
birth_place = Bedford, Ohio, U.S. death_date = death_place = U.S. known_for = Painting training = movement = notable_works = The Spirit of '76 }}Archibald MacNeal Willard was an American painter who was born and raised in Bedford, Ohio. He was the son of Samuel Willard, the pastor of Bedford Baptist Church.Willard had an interest in art ever since he was a child and often scribbled on barns and other structures at home. As a young man, Willard moved to Wellington, Ohio and began working for wagon maker E.S. Tripp. He began as a basic wagon painter, but eventually was allowed to paint elaborate decorations that were popular at the time. Willard joined the 86th Ohio Infantry Regiment in 1863 and fought in the Civil War, but was not heavily involved. During this time, he painted several scenes from the war.After the war, Willard created a pair of paintings for Tripp's daughter, Addie, called Pluck and Pluck No. 2. The first of the two features three children being carted by a dog chasing a rabbit, while in the second, the children and their cart have crashed due to their reckless pursuit. These paintings, among earlier sketches, forged a relationship between him and photographer James F. Ryder. Ryder made much of his money in chromolithography, printing popular and marketable images for the average household. He saw a potential in Willard to create humorous and cheerful paintings to make profits. Willard also painted three murals in the main hall of the Fayette County courthouse in Washington Court House, Ohio: The Spirit of Electricity, The Spirit of Telegraphy, and The Spirit of the Mail.Willard is buried in Wellington, Ohio at the Greenwood Cemetery. He is commemorated by a Willard Avenue in his birthplace of Bedford and a Willard Drive in nearby Garfield Heights.
section
Explain the Abstract of this artwork, Archibald Willard.Please output in English.
[ "86th Ohio Infantry Regiment", "Bedford, Ohio", "Washington Court House, Ohio", "Wellington, Ohio" ]
98
Archibald Willard
Archibald Willard
https://upload.wikimedia…bald_Willard.jpg
null
birth_place = Bedford, Ohio, U.S. death_date = death_place = U.S. known_for = Painting training = movement = notable_works = The Spirit of '76 }}Archibald MacNeal Willard was an American painter who was born and raised in Bedford, Ohio. He was the son of Samuel Willard, the pastor of Bedford Baptist Church.Willard had an interest in art ever since he was a child and often scribbled on barns and other structures at home. As a young man, Willard moved to Wellington, Ohio and began working for wagon maker E.S. Tripp. He began as a basic wagon painter, but eventually was allowed to paint elaborate decorations that were popular at the time. Willard joined the 86th Ohio Infantry Regiment in 1863 and fought in the Civil War, but was not heavily involved. During this time, he painted several scenes from the war.After the war, Willard created a pair of paintings for Tripp's daughter, Addie, called Pluck and Pluck No. 2. The first of the two features three children being carted by a dog chasing a rabbit, while in the second, the children and their cart have crashed due to their reckless pursuit. These paintings, among earlier sketches, forged a relationship between him and photographer James F. Ryder. Ryder made much of his money in chromolithography, printing popular and marketable images for the average household. He saw a potential in Willard to create humorous and cheerful paintings to make profits. Willard also painted three murals in the main hall of the Fayette County courthouse in Washington Court House, Ohio: The Spirit of Electricity, The Spirit of Telegraphy, and The Spirit of the Mail.Willard is buried in Wellington, Ohio at the Greenwood Cemetery. He is commemorated by a Willard Avenue in his birthplace of Bedford and a Willard Drive in nearby Garfield Heights.
section
How does Archibald Willard explain its Abstract?Please output in English.
[ "86th Ohio Infantry Regiment", "Bedford, Ohio", "Washington Court House, Ohio", "Wellington, Ohio" ]
99
Archibald Willard
Archibald Willard
https://upload.wikimedia…bald_Willard.jpg
null
birth_place = Bedford, Ohio, U.S. death_date = death_place = U.S. known_for = Painting training = movement = notable_works = The Spirit of '76 }}Archibald MacNeal Willard was an American painter who was born and raised in Bedford, Ohio. He was the son of Samuel Willard, the pastor of Bedford Baptist Church.Willard had an interest in art ever since he was a child and often scribbled on barns and other structures at home. As a young man, Willard moved to Wellington, Ohio and began working for wagon maker E.S. Tripp. He began as a basic wagon painter, but eventually was allowed to paint elaborate decorations that were popular at the time. Willard joined the 86th Ohio Infantry Regiment in 1863 and fought in the Civil War, but was not heavily involved. During this time, he painted several scenes from the war.After the war, Willard created a pair of paintings for Tripp's daughter, Addie, called Pluck and Pluck No. 2. The first of the two features three children being carted by a dog chasing a rabbit, while in the second, the children and their cart have crashed due to their reckless pursuit. These paintings, among earlier sketches, forged a relationship between him and photographer James F. Ryder. Ryder made much of his money in chromolithography, printing popular and marketable images for the average household. He saw a potential in Willard to create humorous and cheerful paintings to make profits. Willard also painted three murals in the main hall of the Fayette County courthouse in Washington Court House, Ohio: The Spirit of Electricity, The Spirit of Telegraphy, and The Spirit of the Mail.Willard is buried in Wellington, Ohio at the Greenwood Cemetery. He is commemorated by a Willard Avenue in his birthplace of Bedford and a Willard Drive in nearby Garfield Heights.
section
In Archibald Willard, how is the Abstract discussed?Please output in English.
[ "86th Ohio Infantry Regiment", "Bedford, Ohio", "Washington Court House, Ohio", "Wellington, Ohio" ]
End of preview.

Dataset Card for Multilingual Explain Artworks: MultiExpArt

This dataset card aims to be a base template for new datasets. It has been generated using this raw template.

Dataset Description

Dataset Summary

As the performance of Large-scale Vision Language Models (LVLMs) improves, they are increasingly capable of responding in multiple languages, and there is an expectation that the demand for explanations generated by LVLMs will grow. However, pre-training of Vision Encoder and the integrated training of LLMs with Vision Encoder are mainly conducted using English training data, leaving it uncertain whether LVLMs can completely handle their potential when generating explanations in languages other than English. In addition, multilingual QA benchmarks that create datasets using machine translation have cultural differences and biases, remaining issues for use as evaluation tasks. To address these challenges, this study created an extended dataset in multiple languages without relying on machine translation. This dataset that takes into account nuances and country-specific phrases was then used to evaluate the generation explanation abilities of LVLMs. Furthermore, this study examined whether Instruction-Tuning in resource-rich English improves performance in other languages. Our findings indicate that LVLMs perform worse in languages other than English compared to English. In addition, it was observed that LVLMs struggle to effectively manage the knowledge learned from English data.

Languages

This dataset is availale in 10 languages: English, Japanese, German, French, Italian, Swedish, Chinese, Spanish, Russian, and Dutch.

English Example

{
    "id": 15,
    "title": "The Waterseller of Seville",
    "en_title": "The Waterseller of Seville",
    "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/2/2a/El_aguador_de_Sevilla%2C_por_Diego_Vel%C3%A1zquez.jpg/270px-El_aguador_de_Sevilla%2C_por_Diego_Vel%C3%A1zquez.jpg",
    "en_image_url": null,
    "reference": "Velázquez's respect for the poor is evidence in the idea that the simple, elemental nature of poverty is profound and effective in depicting higher subjects and morals such as biblical stories .This simply means that even the slightest gestures are ones that are painted as if they were sacred acts. In the context of Velázquez's development as an artist, The Waterseller exhibits the beginnings of the technique found in the artist's mature creations. His insight into the person of the seller is symptomatic of his insight into the subjects of his great portraits, and his precise rendition of the small details of reality demonstrate his understanding of human perception.",
    "entry": "section",
    "prompt": "In The Waterseller of Seville, how is the Theme discussed?Please output in English.",
    "section_entities": ["The Waterseller", "Seville"]
}

Citation

@misc{ozaki2025crosslingualexplanationartworklargescale,
      title={Towards Cross-Lingual Explanation of Artwork in Large-scale Vision Language Models}, 
      author={Shintaro Ozaki and Kazuki Hayashi and Yusuke Sakai and Hidetaka Kamigaito and Katsuhiko Hayashi and Taro Watanabe},
      year={2025},
      eprint={2409.01584},
      archivePrefix={arXiv},
      primaryClass={cs.CL},
      url={https://arxiv.org/abs/2409.01584}, 
}
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