
CREATE TABLE `PaintingGenres` (
  `PaintingGenreID` INTEGER NOT NULL AUTO_INCREMENT, 
  `PaintingID` INTEGER DEFAULT 0, 
  `GenreID` INTEGER DEFAULT 0, 
  INDEX (`GenreID`), 
  PRIMARY KEY (`PaintingGenreID`), 
  INDEX (`PaintingID`), 
  INDEX (`PaintingGenreID`)
) ENGINE=innodb DEFAULT CHARSET=utf8;

SET autocommit=1;

#
# Dumping data for table 'PaintingGenres'
#

INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (7, 5, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (9, 7, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (10, 8, 1);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (13, 11, 1);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (14, 12, 1);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (16, 14, 1);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (17, 15, 1);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (18, 16, 76);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (25, 23, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (26, 24, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (28, 25, 1);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (29, 26, 1);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (32, 29, 1);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (33, 30, 76);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (34, 31, 1);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (38, 35, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (39, 36, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (40, 37, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (42, 39, 35);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (44, 41, 35);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (45, 42, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (47, 45, 35);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (48, 46, 35);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (49, 47, 35);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (50, 48, 35);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (51, 49, 35);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (52, 50, 35);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (54, 52, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (56, 54, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (57, 55, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (58, 56, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (59, 57, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (60, 58, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (62, 60, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (63, 61, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (65, 63, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (66, 64, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (67, 65, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (68, 66, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (69, 67, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (70, 68, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (71, 70, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (72, 71, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (89, 88, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (90, 89, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (102, 101, 40);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (103, 102, 40);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (104, 103, 40);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (106, 105, 40);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (115, 114, 47);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (119, 118, 56);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (121, 119, 56);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (131, 124, 47);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (134, 139, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (135, 140, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (137, 142, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (140, 145, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (141, 146, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (146, 152, 35);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (147, 153, 35);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (148, 154, 35);
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INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (167, 173, 35);
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INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (182, 191, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (183, 192, 56);
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INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (506, 468, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (507, 468, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (508, 469, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (509, 469, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (510, 470, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (511, 470, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (512, 471, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (513, 471, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (514, 472, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (515, 472, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (516, 473, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (517, 473, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (518, 474, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (519, 474, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (520, 475, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (521, 475, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (522, 476, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (523, 476, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (524, 477, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (525, 477, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (526, 478, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (527, 478, 88);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (528, 479, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (529, 479, 88);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (530, 481, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (531, 481, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (532, 482, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (533, 482, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (534, 483, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (535, 483, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (536, 484, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (537, 484, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (538, 486, 35);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (539, 486, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (540, 487, 35);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (541, 487, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (542, 488, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (543, 488, 88);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (544, 489, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (545, 489, 88);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (546, 490, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (547, 490, 88);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (548, 492, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (549, 493, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (550, 495, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (551, 495, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (552, 496, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (553, 497, 83);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (554, 498, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (555, 499, 79);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (556, 500, 79);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (557, 501, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (558, 502, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (559, 504, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (560, 505, 83);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (561, 505, 76);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (562, 506, 83);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (563, 506, 76);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (564, 507, 83);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (565, 507, 76);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (566, 508, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (567, 509, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (568, 510, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (569, 511, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (570, 512, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (571, 513, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (572, 514, 35);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (573, 515, 80);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (574, 508, 80);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (575, 516, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (576, 516, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (577, 517, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (578, 517, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (579, 518, 83);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (580, 519, 35);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (581, 520, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (582, 521, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (583, 522, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (584, 523, 78);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (585, 524, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (586, 524, 35);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (587, 525, 56);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (588, 526, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (589, 526, 88);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (590, 527, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (591, 527, 88);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (592, 528, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (593, 528, 88);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (594, 529, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (595, 530, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (596, 531, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (597, 532, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (598, 533, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (599, 531, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (600, 532, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (601, 533, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (602, 534, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (603, 535, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (604, 536, 77);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (605, 537, 77);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (606, 538, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (607, 539, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (608, 540, 77);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (609, 541, 77);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (610, 542, 77);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (611, 543, 77);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (612, 544, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (613, 545, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (614, 546, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (615, 547, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (616, 548, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (617, 549, 77);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (618, 550, 77);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (619, 551, 77);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (620, 552, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (621, 553, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (622, 554, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (623, 554, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (624, 555, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (625, 555, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (626, 556, 80);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (627, 557, 83);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (628, 557, 76);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (629, 558, 78);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (630, 559, 79);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (631, 560, 78);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (632, 561, 78);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (633, 562, 78);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (634, 563, 78);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (635, 564, 78);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (636, 565, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (637, 566, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (638, 567, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (639, 566, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (640, 567, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (641, 568, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (642, 569, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (643, 570, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (644, 571, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (645, 571, 64);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (646, 572, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (647, 572, 64);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (648, 573, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (649, 573, 88);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (650, 574, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (651, 574, 88);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (652, 575, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (653, 575, 88);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (654, 576, 83);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (655, 577, 83);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (656, 577, 76);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (657, 578, 81);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (658, 579, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (659, 580, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (660, 581, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (661, 582, 83);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (662, 583, 47);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (663, 584, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (664, 585, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (665, 585, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (666, 586, 34);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (667, 587, 88);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (668, 587, 76);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (669, 588, 88);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (670, 589, 88);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (671, 590, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (672, 591, 33);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (673, 592, 36);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (674, 593, 80);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (675, 594, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (676, 594, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (677, 595, 76);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (678, 595, 83);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (679, 596, 64);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (681, 597, 87);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (682, 597, 84);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (683, 598, 81);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (684, 599, 81);
INSERT INTO `PaintingGenres` (`PaintingGenreID`, `PaintingID`, `GenreID`) VALUES (685, 420, 87);
# 406 records

#
# Table structure for table 'Paintings'
#


CREATE TABLE `Paintings` (
  `PaintingID` INTEGER NOT NULL AUTO_INCREMENT, 
  `ArtistID` INTEGER DEFAULT 0, 
  `GalleryID` INTEGER, 
  `ImageFileName` VARCHAR(50) NOT NULL, 
  `Title` VARCHAR(255) NOT NULL, 
  `ShapeID` INTEGER, 
  `MuseumLink` VARCHAR(255), 
  `AccessionNumber` VARCHAR(255), 
  `CopyrightText` VARCHAR(255) DEFAULT 'Public domain', 
  `Description` LONGTEXT, 
  `Excerpt` LONGTEXT, 
  `YearOfWork` INTEGER DEFAULT 0, 
  `Width` INTEGER, 
  `Height` INTEGER, 
  `Medium` VARCHAR(255) DEFAULT 'Oil on canvas', 
  `Cost` DECIMAL(19,4) DEFAULT 700, 
  `MSRP` DECIMAL(19,4) DEFAULT 900, 
  `GoogleLink` VARCHAR(255), 
  `GoogleDescription` LONGTEXT, 
  `WikiLink` VARCHAR(255), 
  INDEX (`ArtistID`), 
  UNIQUE (`ImageFileName`), 
  INDEX (`GalleryID`), 
  PRIMARY KEY (`PaintingID`), 
  INDEX (`ShapeID`), 
  INDEX (`Title`), 
  INDEX (`PaintingID`)
) ENGINE=innodb DEFAULT CHARSET=utf8;

SET autocommit=1;

#
# Dumping data for table 'Paintings'
#

INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (5, 1, 20, '001050', 'Self-portrait (Yo)', 1, 'http://www.moma.org/collection/works/80026?locale=en', '587.1998', 'Estate of Pablo Picasso / Artists Rights Society', NULL, NULL, 1901, 54, 32, 'Oil on cardboard on panel', 125, 135, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (7, 1, 7, '001080', 'Family of Saltimbanques', 3, 'http://www.nga.gov/content/ngaweb/Collection/art-object-page.46665.html', '1963.10.190', 'Estate of Pablo Picasso/Artists Rights Society', '<em>Family of Saltimbanques</em> (La famille de saltimbanques) is a 1905 painting by Pablo Picasso. It is considered the masterpiece of Picasso\'s circus period. The painting depicts six saltimbanques, a kind of itinerant circus performer, in a desolate landscape. The composition groups them together, but they do not seem connected to each other and are not looking at each other.[', '<em>Family of Saltimbanques</em> (La famille de saltimbanques) is a 1905 painting by Pablo Picasso. It is considered the masterpiece of Picasso\'s circus period.', 1905, 213, 230, 'Oil on canvas', 440, 570, NULL, NULL, 'http://en.wikipedia.org/wiki/Family_of_Saltimbanques');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (8, 1, 11, '001090', 'Portrait of Daniel-Henry Kahnweiler', 1, 'http://www.artic.edu/aic/collections/artwork/111060', NULL, 'Estate of Pablo Picasso / Artists Rights Society', 'In 1907 Picasso joined an art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler. Kahnweiler was a German art historian, art collector who became one of the premier French art dealers of the 20th century. He was among the first champions of Pablo Picasso, Georges Braque and the Cubism that they jointly developed. Kahnweiler promoted burgeoning artists such as André Derain, Kees Van Dongen, Fernand Léger, Juan Gris, Maurice de Vlaminck and several others who had come from all over the globe to live and work in Montparnasse at the time.', 'In 1907 Picasso joined an art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler. Kahnweiler was a German art historian, art collector who became one of the premier French art dealers of the 20th century.', 1910, 101, 73, 'Oil on canvas', 900, 1000, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (11, 1, 13, '001130', 'Self Portrait With A Palette', 1, 'http://www.philamuseum.org/collections/permanent/50947.html', '1950-1-1', 'Estate of Pablo Picasso / Artists Rights Society', 'This self-portrait casts the twenty-five-year-old painter as a hardy, athletic figure and sets the stage for the legend of Picasso as the artistic champion of the twentieth century. In preparatory drawings the artist included a brush in his right hand, but he removed it in this final version. Its absence attests to the notion that creative genius is not simply manual dexterity but the expression of an inner vision, here symbolized by the artist’s intense, staring eyes.', 'This self-portrait casts the twenty-five-year-old painter as a hardy, athletic figure and sets the stage for the legend of Picasso as the artistic champion of the twentieth century.', 1906, 92, 73, 'Oil on canvas', 500, 800, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (12, 1, 6, '001150', 'Portrait of Gertrude Stein', 1, 'http://www.metmuseum.org/art/collection/search/488221', '47.106', 'Estate of Pablo Picasso / Artists Rights Society', 'By 1905 Picasso became a favorite of the American art collectors Leo and Gertrude Stein. Their older brother Michael Stein and his wife Sarah also became collectors of his work. Picasso painted portraits of both Gertrude Stein and her nephew Allan Stein. Gertrude Stein became Picasso\'s principal patron, acquiring his drawings and paintings and exhibiting them in her informal Salon at her home in Paris. At one of her gatherings in 1905, he met Henri Matisse, who was to become a lifelong friend and rival. The Steins introduced him to Claribel Cone and her sister Etta who were American art collectors; they also began to acquire Picasso and Matisse\'s paintings. Eventually Leo Stein moved to Italy, and Michael and Sarah Stein became patrons of Matisse; while Gertrude Stein continued to collect Picasso.', 'By 1905 Picasso became a favorite of the American art collectors Leo and Gertrude Stein. Their older brother Michael Stein and his wife Sarah also became collectors of his work. Picasso painted portraits of both Gertrude Stein and her nephew Allan Stein.', 1907, 100, 81, 'oil on canvas', 620, 800, NULL, NULL, 'http://www.metmuseum.org/Collections/search-the-collections/210008443');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (14, 1, 20, '001170', 'Two Nudes', 5, 'http://www.moma.org/collection/works/80111?locale=en', '621.1959', 'Estate of Pablo Picasso / Artists Rights Society', 'The terracotta shades and heavy monumentality of the figures in <em>Two Nudes</em> derive from Picasso\'s interest at the time in the ancient Iberian sculpture of his native Spain. Like many artists in the first decades of the twentieth century, Picasso found ancient and non-western art to be fruitful alternatives both to the prescribed forms of academic painting and the visual culture of industrial modernity. These two women are nearly mirror images, but the face of the figure on the left bears a strong resemblance to that of the figure on the far left in <em>Les Demoiselles d\'Avignon</em>. Like the woman in Demoiselles, with whom she shares her chiseled nose and dark, hollow eyes, this woman holds open what appears to be a curtain and gazes outward, as though beckoning viewers in.', 'The terracotta shades and heavy monumentality of the figures in <em>Two Nudes</em> derive from Picasso\'s interest at the time in the ancient Iberian sculpture of his native Spain. Like many artists in the first decades of the twentieth century, Picasso found ancient and non-western art to be fruitful alternatives both to the prescribed forms of academic painting and the visual culture of industrial modernity.', 1907, 151, 93, 'Oil on canvas', 800, 900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (15, 1, 24, '001180', 'Three Women', 1, 'https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+Paintings/28585/?lng=en', '9658', 'Personal non-commercial use', 'This is one of the most important of Picasso\'s Cubist works. He made about seventy sketches and rough drafts for it. The artist took the traditional subject of the Three Graces and reworked it in his own style.', 'This is one of the most important of Picasso\'s Cubist works. He made about seventy sketches and rough drafts for it. The artist took the traditional subject of the Three Graces and reworked it in his own style.', 1908, 200, 178, 'Oil on canvas', 875, 1000, NULL, NULL, 'http://www.hermitagemuseum.org/html_En/03/hm3_3_1_8c.html');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (16, 1, 11, '001190', 'Woman and Child on the Seashore', 3, 'http://www.artic.edu/aic/collections/artwork/109275', NULL, 'Estate of Pablo Picasso / Artists Rights Society', 'Inspired by ancient art he saw while in Rome, Picasso began painting heavy-set figures in a neoclassical mode. In 1918, having married the Russian dancer Olga Koklova, Picasso was drawn to images of mothers with children.', 'Inspired by ancient art he saw while in Rome, Picasso began painting heavy-set figures in a neoclassical mode. In 1918, having married the Russian dancer Olga Koklova, Picasso was drawn to images of mothers with children.', 1921, 143, 162, 'Oil on canvas', 750, 900, NULL, NULL, 'http://www.artic.edu/aic/collections/exhibitions/modernwing/artwork/109275');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (23, 1, 7, '001020', 'The Tragedy', 1, 'http://www.nga.gov/content/ngaweb/Collection/art-object-page.46671.html', '1963.10.196', 'Estate of Pablo Picasso/Artists Rights Society', NULL, NULL, 1903, 105, 69, 'Oil on canvas', 430, 600, NULL, NULL, 'http://www.nga.gov/feature/picasso/technique.shtm');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (24, 1, 11, '001060', 'Old Guitarist', 1, 'http://www.artic.edu/aic/collections/artwork/28067', NULL, 'Estate of Pablo Picasso / Artists Rights Society', NULL, NULL, 1903, 121, 82, 'Oil on panel', 823, 900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (25, 1, 11, '001100', 'The Glass', 5, 'http://www.artic.edu/aic/collections/artwork/66159', NULL, 'Estate of Pablo Picasso / Artists Rights Society', NULL, NULL, 1911, 32, 17, 'Oil on canvas', 753, 975, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (26, 1, 20, '001140', 'Les Demoiselles d\'Avignon', 3, 'http://www.moma.org/collection/works/79766?locale=en', '333.1939', 'Estate of Pablo Picasso / Artists Rights Society', '<em>Les Demoiselles d\'Avignon</em> (The Young Ladies of Avignon, and originally titled The Brothel of Avignon) is a large oil painting of 1907 by the Spanish artist Pablo Picasso (1881–1973). The work portrays five nude female prostitutes from a brothel on Carrer d\'Avinyó (Avinyó Street) in Barcelona. Each figure is depicted in a disconcerting confrontational manner and none are conventionally feminine. The women appear as slightly menacing and rendered with angular and disjointed body shapes. Two are shown with African mask-like faces and three more with faces in the Iberian style of Picasso\'s native Spain, giving them a savage aura. In this adaptation of Primitivism and abandonment of perspective in favor of a flat, two-dimensional picture plane, Picasso makes a radical departure from traditional European painting. The work is widely considered to be seminal in the early development of both cubism and modern art. Demoiselles was revolutionary and controversial, and led to wide anger and disagreement, even amongst his closest associates and friends.\r\nPainted in Paris during the summer of 1907, Picasso had created hundreds of sketches and studies in preparation for the final work. He long acknowledged the importance of Spanish art and Iberian sculpture as influences on the painting. The work is believed by critics to be influenced by African tribal masks and the art of Oceania, although Picasso denied the connection; many art historians remain skeptical about his denials. Several experts maintain that, at the very least, Picasso visited the Musée d\'Ethnographie du Trocadéro (known today as Musée de l\'Homme) in the spring of 1907 where he saw and was unconsciously influenced by African and Tribal art several months before completing Demoiselles. Some critics argue that the painting was a reaction to Henri Matisse\'s Le bonheur de vivre and Blue Nude.', '<em>Les Demoiselles d\'Avignon</em> (The Young Ladies of Avignon, and originally titled The Brothel of Avignon) is a large oil painting of 1907 by the Spanish artist Pablo Picasso (1881–1973). The work portrays five nude female prostitutes from a brothel on Carrer d\'Avinyó (Avinyó Street) in Barcelona.', 1907, 244, 234, 'Oil on canvas', 1170, 1400, NULL, NULL, 'http://en.wikipedia.org/wiki/Les_Demoiselles_d%27Avignon');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (29, 1, 13, '001260', 'Three Musicians', 3, 'http://www.philamuseum.org/collections/permanent/53963', '1952-61-96', 'Estate of Pablo Picasso / Artists Rights Society', '<em>Three Musicians</em> is the title of two similar collage and oil paintings by Spanish artist Pablo Picasso. They were both completed in 1921 in Fontainebleau near Paris, France, and exemplify the Synthetic Cubist style. Each painting features a Harlequin, a Pierrot, and a monk, who are generally believed to represent Picasso, Guillaume Apollinaire, and Max Jacob, respectively.', '<em>Three Musicians</em> is the title of two similar collage and oil paintings by Spanish artist Pablo Picasso. They were both completed in 1921 in Fontainebleau near Paris, France, and exemplify the Synthetic Cubist style. Each painting features a Harlequin, a Pierrot, and a monk, who are generally believed to represent Picasso, Guillaume Apollinaire, and Max Jacob, respectively.', 1921, 203, 188, 'Oil on canvas', 430, 500, NULL, NULL, 'http://en.wikipedia.org/wiki/Three_Musicians');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (30, 1, 7, '001270', 'Lovers', 1, 'http://www.nga.gov/content/ngaweb/Collection/art-object-page.46667.html', '1963.10.192', 'Estate of Pablo Picasso/Artists Rights Society', NULL, NULL, 1923, 130, 97, 'Oil on linen', 480, 600, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (31, 1, 20, '001280', 'Girl Before a Mirror', 1, 'http://www.moma.org/collection/works/78311?locale=en', '2.1938', 'Estate of Pablo Picasso / Artists Rights Society', '<em>Girl Before a Mirror</em> shows Picasso\'s young mistress Marie-Thérèse Walter, one of his favorite subjects in the early 1930s. Her white-haloed profile, rendered in a smooth lavender pink, appears serene. But it merges with a more roughly painted, frontal view of her face—a crescent, like the moon, yet intensely yellow, like the sun, and \"made up\" with a gilding of rouge, lipstick, and green eye-shadow. Perhaps the painting suggests both Walter\'s day-self and her night-self, both her tranquillity and her vitality, but also the transition from an innocent girl to a worldly woman aware of her own sexuality.', '<em>Girl Before a Mirror</em> shows Picasso\'s young mistress Marie-Thérèse Walter, one of his favorite subjects in the early 1930s. Her white-haloed profile, rendered in a smooth lavender pink, appears serene. But it merges with a more roughly painted, frontal view of her face—a crescent, like the moon, yet intensely yellow, like the sun, and \"made up\" with a gilding of rouge, lipstick, and green eye-shadow.', 1932, 162, 130, 'Oil on canvas', 800, 900, NULL, NULL, 'http://www.moma.org/collection/object.php?object_id=78311');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (67, 20, 19, '020070', 'Circus', 1, 'http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/cirque-7090.html', 'RF 2511', '&copy; Home', NULL, NULL, 1891, 185, 152, 'Oil on canvas', 450, 500, 'https://www.google.com/culturalinstitute/beta/asset/the-circus/agFX4peHSDwt_g', 'The circus theme was often covered in the 1880\'s, especially by Renoir, Degas and Toulouse-Lautrec. However, The Circus, far from a merely anecdotal rendering of a modern form of entertainment, constitutes one of the most impressive applications of Divisionist theory.', NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (68, 21, 37, '021010', 'Mont Sainte-Victoire seen from Bellevue', 2, 'http://www.barnesfoundation.org/collections/art-collection/object/4672/mont-sainte-victoire-la-montagne-sainte-victoire', 'BF13', '&copy; The Barnes Foundation', '<em>Mont Sainte-Victoire seen from Bellevue</em> is a landscape painting dating from around 1885, by the French artist Paul Cézanne. The subject of the painting is the Montagne Sainte-Victoire in Provence in southern France. Cézanne spent a lot of time in Aix-en-Provence at the time, and developed a special relationship with the landscape. This particular mountain, that stood out in the surrounding landscape, he could see from his house, and he painted it in on numerous occasions.\r\nThe painting shows clearly Cézanne\'s project of rendering order and clarity to natural scenes, without giving up the optical realism of Impressionism. Both the light and the colours of the painting give the impression of a pattern that is not imposed on nature, but is there naturally.', '<em>Mont Sainte-Victoire seen from Bellevue</em> is a landscape painting dating from around 1885, by the French artist Paul Cézanne. The subject of the painting is the Montagne Sainte-Victoire in Provence in southern France. Cézanne spent a lot of time in Aix-en-Provence at the time, and developed a special relationship with the landscape.', 1885, 73, 92, 'Oil on canvas', 850, 900, NULL, NULL, 'http://en.wikipedia.org/wiki/Mont_Sainte-Victoire_seen_from_Bellevue');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (69, 21, 13, '021020', 'Portrait of Madame Cézanne with Loosened Hair', 1, 'http://www.philamuseum.org/collections/permanent/82555.html', '1986-26-1', 'Public Domain', '<em>Portrait of Madame Cézanne with Loosened Hair</em> (or Madame Cézanne with Unbound Hair) is an oil-on-canvas painting by French artist Paul Cézanne, variously dated from the mid 1870s to the early 1890s. Although the model, his wife Hortense Fiquet, was not supportive and did not understand or take an interest her husband\'s work, this is one of forty-four portraits in which she sat for him from 1869, a period during which she progressed from mistress, to wife, to ex-wife. Something of a socialite, Cézanne latterly found Fiquet often fickle and shallow, and once remarked, \"My wife only cares for Switzerland and lemonade\". The sensitivity and depth ascribed to her in this work, is likely drawn from his own personality, projected onto her image.', '<em>Portrait of Madame Cézanne with Loosened Hair</em> (or Madame Cézanne with Unbound Hair) is an oil-on-canvas painting by French artist Paul Cézanne, variously dated from the mid 1870s to the early 1890s. Although the model, his wife Hortense Fiquet, was not supportive and did not understand or take an interest her husband\'s work, this is one of forty-four portraits in which she sat for him from 1869.', 1869, 62, 51, 'Oil on canvas', 750, 900, NULL, NULL, 'http://en.wikipedia.org/wiki/Portrait_of_Madame_C%C3%A9zanne_with_Loosened_Hair');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (70, 21, 6, '021070', 'Card Players', 3, 'http://www.metmuseum.org/art/collection/search/435868', '61.101.1', 'Open Access for Scholarly Content', '<em>The Card Players</em> is a series of oil paintings from the French Post-Impressionist artist Paul Cézanne. Painted during Cézanne\'s final period in the early 1890s, there are five paintings in the series. The versions vary in size and in the number of players depicted. The series is considered by critics to be a cornerstone of Cézanne\'s work during the early-to-mid 1890s period, as well as a \"prelude\" to his final years, when he painted some of his most acclaimed work.\r\nEach painting depicts Provençal peasants immersed in smoking their pipes and playing cards. The subjects, all male, are displayed as studious within their card playing, eyes cast downward, intent on the game at hand. Cézanne adapted a motif from 17th century Dutch and French genre painting which often depicted card games with rowdy, drunken gamblers in taverns, replacing them instead with stone-faced tradesmen in a more simplified setting. Whereas previous paintings of the genre had illustrated heightened moments of drama, Cézanne\'s portraits have been noted for their lack of drama, narrative, and conventional characterization. Other than an unused wine bottle in the two-player versions, there is an absence of drink and money, which were prominent fixtures of the 17th century genre. A painting by one of the Le Nain brothers depicting card players at a museum in Aix-en-Provence, near the artist\'s residence, is widely believed to have been an inspiration for Cézanne.', '<em>The Card Players</em> is a series of oil paintings from the French Post-Impressionist artist Paul Cézanne. The series is considered by critics to be a cornerstone of Cézanne\'s work during the early-to-mid 1890s period, as well as a \"prelude\" to his final years, when he painted some of his most acclaimed work.', 1890, 134, 182, 'Oil on canvas', 200, 275, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Card_Players');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (71, 21, 20, '021060', 'Still Life With Apples', 2, 'http://www.moma.org/collection/works/78486?locale=en', '22.1934', '&copy; Art Resource', 'Throughout his life, the French painter Paul Cézanne returned again and again to the still life. Encompassing small—scale domestic scenes rather than grand public ones, still life was considered the lowliest of genres by the French Royal Academy, the official arbiter of great art in the nineteenth century. Yet in <em>Still Life with Apples</em>, Cézanne proved that this modest genre could be a vehicle for thinking through the Impressionist project of faithfully representing the appearance of light and space. \"Painting from nature is not copying the object,\" he wrote, \"it is realizing one\'s sensations.\"', 'Throughout his life, the French painter Paul Cézanne returned again and again to the still life. In <em>Still Life with Apples</em>, Cézanne proved that this modest genre could be a vehicle for thinking through the Impressionist project of faithfully representing the appearance of light and space.', 1890, 69, 93, 'Oil on canvas', 1225, 1300, 'http://www.googleartproject.com/museums/moma/still-life-with-apples-20', NULL, 'http://www.moma.org/collection/browse_results.php?object_id=78486');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (77, 24, 28, '024010', 'Sick Child', 3, 'http://www.nasjonalmuseet.no/en/collections_and_research/our_collections/edvard_munch_in_the_national_museum/The+Sick+Child%2C+1885%E2%88%9286.b7C_wljS4f.ips', 'NG.M.00839', '&copy; National Museum of Norway', 'Munch had a troubled familial past. In addition to his overbearing pietist father, his mother died of tuberculosis when he was a small child, and his sister died nine years later of the same disease. This painting is an image of Munch’s older and favorite sister Sophie lying in bed, dying of tuberculosis when she was 15 years old. Munch created many reproductions of this painting, including one that was held in Dresden, Germany. In the 1930’s and 40’s Nazi’s deemed Munch’s art as “degenerate art” and removed all of them from Germany to be sold at auction. This piece was bought and later donated to the Tate Gallery in London, where it remains today.', 'This painting is an image of Munch’s older and favorite sister Sophie lying in bed, dying of tuberculosis when she was 15 years old. Munch created many reproductions of this painting, including one that was held in Dresden, Germany.', 1885, 120, 118, 'Oil on canvas', 375, 400, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (78, 24, 28, '024020', 'Death in the sickroom', 3, 'http://www.nasjonalmuseet.no/en/collections_and_research/our_collections/edvard_munch_in_the_national_museum/Death+in+the+Sick-Room%2C+prob.+1893.b7C_wljU3c.ips', 'NG.M.00940', '&copy; National Museum of Norway', 'The picture shows what we can assume to be the artist’s family grouped around his sister Sophie, who died in 1877. She is sitting in a chair with her back to us. To the right stands an aunt, Karen Bjølstad, who moved in with the family to take care of the children and the household after the mother died of tuberculosis in 1868. In the background stands the father, the doctor Christian Munch, with his hands clasped as if in prayer. Near the centre of the picture is a male figure, probably Edvard, in quarter-face. Sister Laura is sitting in the foreground with her hands in her lap, while the third sister, Inger, stands staring straight at us. The male figure to the left is generally identified as Edvard’s younger brother Andreas. In Death in the SickRoom there is no physical contact between the people, except for the hand that aunt Karen has laid on the back of the chair in which the invalid sits.', 'The picture shows what we can assume to be the artist’s family grouped around his sister Sophie, who died in 1877. She is sitting in a chair with her back to us.', 1892, 134, 160, 'Tempura and Crayon on canvas', 250, 275, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (79, 24, 28, '024030', 'Cry (The Scream)', 1, 'http://www.nasjonalmuseet.no/en/collections_and_research/our_collections/edvard_munch_in_the_national_museum/The+Scream%2C+1893.b7C_wljU1a.ips', 'NG.M.00939', '&copy; National Museum of Norway', '<em>Scream</em> is the title of expressionist paintings and prints in a series by Norwegian artist Edvard Munch, showing an agonized figure against a blood red sky. The landscape in the background is the Oslofjord, viewed from the hill of Ekeberg, in Oslo (then Kristiania), Norway.\r\nEdvard Munch created several versions of Scream in various media. The Munch Museum holds one of two painted versions (1910, see gallery) and one pastel. The National Gallery of Norway holds the other painted version (1893, shown to right). A fourth version, in pastel, is owned by Norwegian businessman Petter Olsen. Munch also created a lithograph of the image in 1895.', '<em>Scream</em> is the title of expressionist paintings and prints in a series by Norwegian artist Edvard Munch, showing an agonized figure against a blood red sky. The landscape in the background is the Oslofjord, viewed from the hill of Ekeberg, in Oslo (then Kristiania), Norway.', 1893, 91, 74, 'Oil, tempera and pastel on cardboard', 175, 225, 'https://www.google.com/culturalinstitute/beta/asset/the-scream/eQFdRTFKDtVQ1A', 'The Scream is undoubtedly Munch’s most famous motif. It belongs to a series of motifs that Munch developed in Berlin and Åsgårdsstrand in the 1890’s. Munch later gave the series the title Frieze of Life, and described this pictorial cycle as a poem of love, life and death.', 'http://en.wikipedia.org/wiki/The_Scream');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (80, 24, 28, '024040', 'Puberty', 1, 'http://www.nasjonalmuseet.no/en/collections_and_research/our_collections/edvard_munch_in_the_national_museum/Puberty%2C+1894%E2%80%9395.b7C_wljWWK.ips', 'NG.M.00807', '&copy; National Museum of Norway', '<em>Puberty</em> is a painting created by Edvard Munch. Munch is an artist native to Norway and is widely known for his role in expressionistic art. Puberty has also been done as a lithograph and an etching by Munch.\r\nUpon observation of Puberty one of the strongest points in the piece to most is first the adolescent female who is placed mid-center of the painting. The second almost \'haunting\' point in this painting is the shadow the female is meant to be casting. It has been speculated, because of the current sexual mind Munch was in during the time in which he painted this, that the shadow may be a hovering male genital. The thought of male genitalia to a young woman during this time of her own rapidly changing body creates a stench of tension within the piece. Another thought on the shadow is that it suggests the symbolic meaning of death. Both of these speculations on the shadow in this piece reflect well upon what Munch is known for symbolically portraying in his artwork. The female in Puberty had originally been thought to have been a model of Munch\'s while he was in Berlin. The strong detail used in the collar bones of her body suggests that he very well might have used a model. Either way this young lady is trapped in a space that alludes to much controversy within her mind and surroundings.', '<em>Puberty</em> is a painting created by Edvard Munch. Munch is an artist native to Norway and is widely known for his role in expressionistic art. Puberty has also been done as a lithograph and an etching by Munch.', 1894, 152, 110, 'Oil on canvas', 125, 165, NULL, NULL, 'http://en.wikipedia.org/wiki/Puberty_(Edvard_Munch)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (81, 24, 28, '024050', 'Madonna', 1, 'http://www.nasjonalmuseet.no/en/collections_and_research/our_collections/edvard_munch_in_the_national_museum/Madonna%2C+1894%E2%80%9395.b7C_wljU5e.ips', 'NG.M.00841', '&copy; National Museum of Norway', '<em>Madonna</em> is a painting by the Norwegian expressionist Edvard Munch. Munch painted five versions of the Madonna between 1894 and 1895, using oils on canvas. Although it is a highly unusual representation, nevertheless, this painting is of Mary, the mother of Jesus. True to the Norwegian cultural beliefs and way of life, the painting is a strong dose of conceivable realism.', '<em>Madonna</em> is a painting by the Norwegian expressionist Edvard Munch. Munch painted five versions of the Madonna between 1894 and 1895, using oils on canvas. Although it is a highly unusual representation, nevertheless, this painting is of Mary, the mother of Jesus.', 1895, 91, 70, 'Oil on canvas', 190, 230, 'https://www.google.com/culturalinstitute/beta/asset/madonna/1gHp7gNaErg8lA', 'The painting shows a young woman with long, black hair down her shoulders. The deep set eyes are closed as she leans her head back. With her arms held behind her head and back, she exposes her naked body. The wavy lines that surround her, give the impression that she is floating or soaring. The artist has given her a red hat reminiscent of a halo. In Munch’s art the colour red often symbolize love, passion or agony.', 'http://en.wikipedia.org/wiki/Madonna_(Edvard_Munch)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (83, 24, 28, '024070', 'Dance of Life', 2, 'http://www.nasjonalmuseet.no/en/collections_and_research/our_collections/edvard_munch_in_the_national_museum/The+Dance+of+Life%2C+1899%E2%80%931900.b7C_wljW5c.ips', 'NG.M.00941', '&copy; National Museum of Norway', 'Munch’s painting shows several couples dancing in a luminous summer night. The central element of the composition is a couple, of whom the woman is wearing a bright red dress that wraps itself around the feet of her dancing partner. Her loose hair swirling about him, they seem to become a single entity. This couple is flanked by two other women, one of them young and radiant in a white dress, the other pale, with sunken cheeks and dressed in black. It is as if a story were being told about various stages in a woman’s life. Munch has set the scene on the seashore, a landscape with elements from Åsgårdstrand. Many of the pictures in Munch’s protracted “Frieze of Life” project were inspired by Åsgårdstrand’s curving shoreline and characteristic landscape.', 'Munch’s painting shows several couples dancing in a luminous summer night. The central element of the composition is a couple, of whom the woman is wearing a bright red dress that wraps itself around the feet of her dancing partner.', 1900, 126, 190, 'Oil on canvas', 250, 325, 'https://www.google.com/culturalinstitute/beta/asset/the-dance-of-life/2QHHE-2HLPWV0g', 'The motif Dance of Life is central to the series Frieze of Life. The first time Munch painted the motif was in 1899-1900. Many years later, in 1925, he painted it once more when he took up again several of the motifs from the Frieze of Life. The technique was different, but the motifs and colours were the same\r\nIn the middle a young couple are dancing. They seem to have melted together. The woman’s red dress wraps itself around the man’s leg. The red colour continues like a contour line around the man and runs into his clothes. They dance face to face, silent and unsmiling, and the woman’s hair blows towards the man. \r\nOn either side of the couple there is a woman. In from the left a young woman dressed in white comes towards us, bright and happy. On the right stands a woman dressed in black, rigid and serious.', NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (88, 28, 13, '028010', 'At the Moulin Rouge', 1, 'http://www.philamuseum.org/collections/permanent/193192.html', '1940-45-1', 'Public Domain', NULL, NULL, 1890, 116, 150, 'Oil on canvas', 340, 400, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (89, 28, 6, '028050', 'Jane Avril', 1, 'http://www.metmuseum.org/art/collection/search/333993', '32.88.15', 'Open Access for Scholarly Content', 'Lautrec’s graphic posters—for performers, like Jane Avril, or dance halls, like the Moulin Rouge—embody the ebullient, frenetic spirit of the nightlife in fin-de-siècle Paris. Avril, a lifelong friend of the artist, commissioned this print to advertise her cabaret show at the Jardin de Paris in 1893. Lautrec’s bold composition is characterized by a radically skewed perspective, severe cropping, flattened forms, and sinuous lines—such as those describing Avril’s frilly costume. The “cancan” kick of Avril’s leg, one of her signature dance moves, finds a formal echo in the vertical thrust of the double-bass, gripped by an unseen musician. To create this print, Lautrec used several lithographic stones, one for each color—inky black, acidic orange, yellow, and green.', 'Lautrec’s bold composition is characterized by a radically skewed perspective, severe cropping, flattened forms, and sinuous lines—such as those describing Avril’s frilly costume', 1893, 130, 95, 'Poster', 475, 654, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (101, 2, 17, '002020', 'Andre Derain', 1, 'http://www.tate.org.uk/art/artworks/matisse-andre-derain-n06241', 'N06241', 'Succession Henri Matisse/DACS 2016', 'Matisse and Derain painted portraits of each other while staying at the port of Collioure in the south of France. Using vivid, apparently arbitrary, colours, Matisse has captured the sensation of sunlight striking the sitter\'s face and casting a heavy shadow down one side. He has also tried to create a dynamic but balanced relationship between complementary colours, such as blue and orange, red and green. Complementary colours \'complete\' each other: they are at their most intense when placed together. Matisse adjusted his colours to obtain the maximum intensity. This non-naturalistic use of colour can be seen as a radical development of certain aspects of Impressionist art, and it led the critics to dub Matisse a \'fauve\' (wild beast).', 'Using vivid, apparently arbitrary, colours, Matisse has captured the sensation of sunlight striking the sitter\'s face and casting a heavy shadow down one side.', 1905, 39, 29, 'Oil on canvas', 523, 700, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (102, 2, 37, '002030', 'Joy of Life', 2, 'http://www.barnesfoundation.org/collections/art-collection/object/7199/le-bonheur-de-vivre-also-called-the-joy-of-life', 'BF719', '&copy; The Barnes Foundation', '<em>Le bonheur de vivre</em> (The joy of Life), is a painting by Henri Matisse. In the central background of the piece is a group of figures that is similar to the group depicted in his painting The Dance (second version).\r\nAccording to Hilton Kramer \"Le bonheur de vivre owing to its long sequestration in the collection of the Barnes Foundation, which never permitted its reproduction in color, is the least familiar of modern masterpieces. Yet this painting was Matisse\'s own response to the hostility his work had met with in the Salon d\'Automne of 1905, a response that entrenched his art even more deeply in the esthetic principles that had governed his Fauvist paintings which had caused a furor and which did so on a far grander scale, too.\"', '<em>Le bonheur de vivre</em> (The joy of Life), is a painting by Henri Matisse. In the central background of the piece is a group of figures that is similar to the group depicted in his painting The Dance (second version).', 1905, 175, 241, 'Oil on canvas', 900, 1240, NULL, NULL, 'http://en.wikipedia.org/wiki/Le_bonheur_de_vivre');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (103, 2, 20, '002040', 'Red Studio', 3, 'http://www.moma.org/collection/works/78389?locale=en', '8.1949', 'Succession H. Matisse / Artists Rights Society', '\"Where I got the color red—to be sure, I just don\'t know,\" Matisse once remarked. \"I find that all these things . . . only become what they are to me when I see them together with the color red.\" This painting features a small retrospective of Matisse\'s recent painting, sculpture, and ceramics, displayed in his studio. The artworks appear in color and in detail, while the room\'s architecture and furnishings are indicated only by negative gaps in the red surface. The composition\'s central axis is a grandfather clock without hands—it is as if, in the oasis of the artist\'s studio, time were suspended.', 'The artworks appear in color and in detail, while the room\'s architecture and furnishings are indicated only by negative gaps in the red surface. The composition\'s central axis is a grandfather clock without hands—it is as if, in the oasis of the artist\'s studio, time were suspended.', 1911, 181, 219, 'Oil on canvas', 1153, 1175, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (105, 32, 7, '032010', 'Charing Cross Bridge', 2, 'http://www.nga.gov/content/ngaweb/Collection/art-object-page.61249.html', '1982.76.3', 'Open Access', NULL, NULL, 1905, 80, 100, 'Oil on canvas', 500, 800, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (35, 6, 16, '006030', 'La Grande Odalisque', 2, 'http://www.louvre.fr/en/oeuvre-notices/une-odalisque', 'R.F. 1158', '&copy; Musée du Louvre', '<em>Grande Odalisque</em>, also known as Une Odalisque or La Grande Odalisque, is an oil painting of 1814 by Jean Auguste Dominique Ingres depicting an odalisque, or concubine. Ingres\' contemporaries considered the work to signify Ingres\' break from Neoclassicism, indicating a shift toward exotic Romanticism.\r\nGrande Odalisque attracted wide criticism when it was first shown. It has been especially noted for the elongated proportions and lack of anatomical realism. The work is housed in the Louvre, Paris.\r\nThis eclectic mix of styles, combining classical form with Romantic themes, prompted harsh criticism when it was first shown in 1814. Critics viewed Ingres as a rebel against the contemporary style of form and content. When the painting was first shown in the Salon of 1819, one critic remarked that the work had \"neither bones nor muscle, neither blood, nor life, nor relief, indeed nothing that constitutes imitation\".[3] This echoed the general view that Ingres had disregarded anatomical realism.[4] Ingres instead favored long lines to convey curvature and sensuality, as well as abundant, even light to tone down the volume. Ingres continued to be criticized for his work until the mid-1820s.', '<em>Grande Odalisque</em>, also known as Une Odalisque or La Grande Odalisque, is an oil painting of 1814 by Jean Auguste Dominique Ingres depicting an odalisque, or concubine. Ingres\' contemporaries considered the work to signify Ingres\' break from Neoclassicism, indicating a shift toward exotic Romanticism.', 1814, 89, 163, 'Oil on canvas', 125, 175, NULL, NULL, 'http://en.wikipedia.org/wiki/La_Grande_Odalisque');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (36, 7, 16, '007020', 'Liberty Leading the People', 3, 'http://www.louvre.fr/en/oeuvre-notices/july-28-liberty-leading-people', 'R.F. 129', '&copy; Musée du Louvre', '<em>Liberty Leading the People</em> (French: La Liberté guidant le peuple) is a painting by Eugène Delacroix commemorating the July Revolution of 1830, which toppled Charles X of France. A woman personifying Liberty leads the people forward over the bodies of the fallen, holding the tricolore flag of the French Revolution in one hand and brandishing a bayonetted musket with the other. The painting is perhaps Delacroix\'s best-known work.\r\nDelacroix depicted Liberty, as both an allegorical goddess-figure and a robust woman of the people, an approach that contemporary critics denounced as \"ignoble\". The mound of corpses acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789-94. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the romantic era.\r\nThe fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, to the revolutionary urban worker, as exemplified by the boy holding pistols (who may have been the inspiration for the character Gavroche in Victor Hugo\'s Les Misérables). What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre Dame.', '<em>Liberty Leading the People</em> (French: La Liberté guidant le peuple) is a painting by Eugène Delacroix commemorating the July Revolution of 1830, which toppled Charles X of France. A woman personifying Liberty leads the people forward over the bodies of the fallen, holding the tricolore flag of the French Revolution in one hand and brandishing a bayonetted musket with the other. The painting is perhaps Delacroix\'s best-known work.', 1830, 260, 325, 'Oil on canvas', 625, 860, NULL, NULL, 'http://en.wikipedia.org/wiki/Liberty_Leading_the_People');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (37, 10, 19, '010020', 'Burial at Ornans', 4, 'http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/un-enterrement-a-ornans-130.html', 'RF 325', '&copy; Home', '<em>The Burial</em>, one of Courbet\'s most important works, records the funeral of his grandfather which he attended in September 1848. People who attended the funeral were the models for the painting. Previously, models had been used as actors in historical narratives, but in <em>Burial</em> Courbet said he \"painted the very people who had been present at the interment, all the townspeople\". The result is a realistic presentation of them, and of life in Ornans.\r\nThe vast painting—it measures 10 by 22 feet (3.1 by 6.6 meters)—drew both praise and fierce denunciations from critics and the public, in part because it upset convention by depicting a prosaic ritual on a scale which previously would have been reserved for a religious or royal subject.', '<em>The Burial</em>, one of Courbet\'s most important works, records the funeral of his grandfather which he attended in September 1848. People who attended the funeral were the models for the painting.', 1849, 314, 663, 'Oil on canvas', 1145, 1190, 'https://www.google.com/culturalinstitute/beta/asset/a-burial-at-ornans/jwESwQ4qvb87oQ', 'At the end of summer 1849, Courbet started work on his first monumental painting. He wanted to make it his \"statement of principle\" and made this clear by calling the work Painting of Human Figures, the History of a Burial at Ornans. He took his inspiration from group portraits of Dutch civic guards in the 17th century while the sumptuous blacks recall Spanish art. The nuances of colour in the dark greens and dull greys produces an austere tone, the thick, robust technique gives the people and the natural elements density and weight. The rigorous frieze-like composition and the gaping grave strewn with bones invite us to think about the human condition.', 'http://en.wikipedia.org/wiki/A_Burial_at_Ornans');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (39, 12, 36, '012060', 'Bar at the Folies Bergere', 2, 'http://courtauld.ac.uk/gallery/collection/impressionism-post-impressionism/edouard-manet-a-bar-at-the-folies-bergere', NULL, '&copy; The Courtauld Gallery', '<em>A Bar at the Folies-Bergère</em> (French: Un bar aux Folies Bergère), painted and exhibited at the Paris Salon in 1882, was the last major work by French painter Édouard Manet. It depicts a scene in the Folies Bergère nightclub in Paris.\r\nThe painting is filled with contemporaneous details specific to the Folies-Bergère. The distant pair of green feet in the upper left-hand corner belong to a trapeze artist, who is performing above the restaurant\'s patrons.\r\nThe beer which is depicted, Bass Pale Ale (noted by the red triangle on the label), would have catered not to the tastes of Parisians, but to those of English tourists, suggesting a British clientele. Manet has signed his name on the label of the bottle at the bottom left, combining the centuries-old practice of self-promotion in art with something more modern, bordering on the product placement concept of the late twentieth century. One interpretation of the painting has been that far from only being a seller of the wares shown on the counter, the woman is herself one of the wares for sale; conveying undertones of prostitution. The man in the background may be a potential client.\r\nBut for all its specificity to time and place, it is worth noting that, should the background of this painting indeed be a reflection in a mirror on the wall behind the bar as suggested by some critics, the woman in the reflection would appear directly behind the image of the woman facing forward. Neither are the bottles reflected accurately or in like quantity for it to be a reflection. These details were criticized in the French press when the painting was shown. The assumption is faulty when one considers that the postures of the two women, however, are quite different and the presence of the man to whom the second woman speaks marks the depth of the subject area. Indeed many critics view the faults in the reflection to be fundamental to the painting as they show a double reality and meaning to the work. One interpretation is that the reflection is an interaction earlier in time that results in the subject\'s expression in the painting\'s present.', '<em>A Bar at the Folies-Bergère</em> (French: Un bar aux Folies Bergère), painted and exhibited at the Paris Salon in 1882, was the last major work by French painter Édouard Manet. It depicts a scene in the Folies Bergère nightclub in Paris.', 1882, 96, 130, 'Oil on canvas', 125, 200, NULL, NULL, 'http://en.wikipedia.org/wiki/A_Bar_at_the_Folies-Berg%C3%A8re');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (41, 14, 6, '014040', 'At the Piano', 1, 'http://www.metmuseum.org/art/collection/search/459112', '1975.1.201', 'Open Access for Scholarly Content', 'In late 1891 or early 1892 Renoir was invited by the French government to execute a painting for a new museum in Paris, the Musée du Luxembourg, which was to be devoted to the work of living artists. He chose as his subject two girls at the piano. Aware of the intense scrutiny to which his submission would be subjected, Renoir lavished extraordinary care on this project, developing and refining the composition in a series of five canvases. The Lehman painting and the nearly identical version formerly in the collection of Renoir\'s fellow Impressionist Gustave Caillebotte have long been regarded as the most accomplished variants of this intimate and engaging scene of bourgeois domestic life.', 'Aware of the intense scrutiny to which his submission would be subjected, Renoir lavished extraordinary care on this project, developing and refining the composition in a series of five canvases.', 1892, 116, 90, 'Oil on canvas', 790, 940, 'https://www.google.com/culturalinstitute/beta/asset/young-girls-at-the-piano/ZAGwT97hbG0-sg', 'In the early 1890s, friends and admirers of Renoir took exception to the fact that the French State had never made any official purchase from the painter, then almost fifty years old. In 1892, Stéphane Mallarmé, who knew and admired the artist, helped by Roger Marx, a young member of the Beaux Arts administration and open to new trends, took steps to bring Impressionist works into the national museums. This was how, following an informal commission from the administration, Young Girls at the Piano was acquired and placed in the Musée du Luxembourg.', NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (42, 15, 19, '015050', 'Glass of Absinthe', 1, 'http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/dans-un-cafe-167.html', 'RF 1984', '&copy; Home', '<em>L\'Absinthe</em> (English: The Absinthe Drinker or Glass of Absinthe) is a painting by Edgar Degas. Some original title translations are A sketch of a French Café, then Figures at Café, the title was finally changed in 1893 to L’Absinthe (the name the piece is known by today). It is now in the permanent collection of the Musée d\'Orsay in Paris.\r\nPainted in 1875-1876, it depicts two figures, a woman and man, who sit in the center and right of this painting, respectively. The man, wearing a hat, looks right, off the canvas, while the woman, dressed formally and also wearing a hat, stares vacantly downward. A glass filled with the eponymous greenish liquid sits before her. The painting is a representation of the increasing social isolation in Paris during its stage of rapid growth.', '<em>L\'Absinthe</em> (English: The Absinthe Drinker or Glass of Absinthe) is a painting by Edgar Degas. Some original title translations are A sketch of a French Café, then Figures at Café, the title was finally changed in 1893 to L’Absinthe (the name the piece is known by today).', 1877, 92, 68, 'Oil on canvas', 1225, 1300, 'https://www.google.com/culturalinstitute/beta/asset/in-a-caf%C3%A9/GQH1c-43xR3JtA', 'In a cafe, a fashionable meeting place, a man and a woman, although sitting side-by-side, are locked in silent isolation, their eyes empty and sad, with drooping features and a general air of desolation. The painting can be seen as a denunciation of the dangers of absinthe, a violent, harmful liquor which was later prohibited. Parallels have been drawn with Zola\'s novel L\'Assommoir written a few years later and indeed the novelist told the painter: \"I quite plainly described some of your pictures in more than one place in my pages.\" The realistic dimension is flagrant: the cafe has been identified – it is \"La Nouvelle Athènes\", in place Pigalle, a meeting place for modern artists and a hotbed of intellectual bohemians. The framing gives the impression of a snapshot taken by an onlooker at a nearby table. But this impression is deceptive because, in fact, the real life effect is carefully contrived. The picture was painted in the studio and not in the cafe.', 'http://en.wikipedia.org/wiki/L%27Absinthe');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (45, 17, 19, '017020', 'Women in the Garden', 1, 'http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/femmes-au-jardin-343.html', 'RF 2773', '&copy; Home', 'Monet’s technique of “en plein air” painting was hard at work on this painting. Because it necessitated that he work from the same point of view as he painted, he dug a trench for the bottom half of the painting to sit in while he painted the top, due to its large size (it measures 100 by 81 inches). His model for the women of the painting was Camille Doncieux, who would later become his wife, bearing him two sons. To finish the dresses in the most fashionable style, Monet used magazine illustrations to render the clothing.', 'Monet’s technique of “en plein air” painting was hard at work on this painting. Because it necessitated that he work from the same point of view as he painted, he dug a trench for the bottom half of the painting to sit in while he painted the top, due to its large size.', 1866, 205, 255, 'Oil on canvas', 850, 1050, NULL, NULL, 'http://en.wikipedia.org/wiki/Women_in_the_Garden');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (46, 17, 11, '017030', 'Stacks of Wheat (End of Summer)', 2, 'http://www.artic.edu/aic/collections/artwork/64818', NULL, 'Rights-Managed (RM)', 'The monumental stacks that Claude Monet depicted in his series Stacks of Wheat rose fifteen to twenty feet and stood just outside the artist’s farmhouse at Giverny. Through 1890 and 1891, he worked on this series both in the field, painting simultaneously at several easels, and in the studio, refining pictorial harmonies. In May 1891, Monet hung fifteen of these canvases next to each other in one small room in the Galerie Durand-Ruel in Paris. An unprecedented critical and financial success, the exhibition marked a breakthrough in Monet’s career, as well as in the history of French art.', 'The monumental stacks that Claude Monet depicted in his series Stacks of Wheat rose fifteen to twenty feet and stood just outside the artist’s farmhouse at Giverny.', 1891, 60, 100, 'Oil on canvas', 1200, 1500, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (47, 17, 6, '017070', 'The Houses of Parliament (Effect of Fog)', 3, 'http://www.metmuseum.org/art/collection/search/437128', '56.135.6', 'Open Access for Scholarly Content', 'In the fall of 1899 and the early months of 1900 and of 1901, Monet executed a series of views of the Thames River in London. From his room at the Savoy Hotel, he painted Waterloo Bridge to the east, and Charing Cross Bridge to the west; beginning in February 1900, he set up his easel on a terrace at Saint Thomas\'s Hospital across the river, reserving time in the late afternoon to depict the Houses of Parliament.\r\n\r\nWhile in London, Monet produced nearly a hundred canvases, reportedly moving from one to another as the light changed. He continued to work on these paintings in his studio at Giverny. In May 1904, thirty-seven were exhibited at the Galerie Durand-Ruel in Paris, including this view of the Houses of Parliament cloaked in dense fog.', 'In the fall of 1899 and the early months of 1900 and of 1901, Monet executed a series of views of the Thames River in London. From his room at the Savoy Hotel, he painted Waterloo Bridge to the east, and Charing Cross Bridge to the west; beginning in February 1900, he set up his easel on a terrace at Saint Thomas\'s Hospital across the river, reserving time in the late afternoon to depict the Houses of Parliament.', 1903, 81, 92, 'Oil on canvas', 750, 900, 'https://www.google.com/culturalinstitute/beta/asset/houses-of-parliament-in-the-fog/owEEr48qDGwjqQ', 'Monet continued to record fleeting effects of light and atmosphere long after many of his fellow Impressionists had abandoned the practice. Around 1890 he began to paint multiple versions of the same motif. Around the turn of the century Monet was working in London and painted a series of views of the Houses of Parliament as seen from a balcony of Saint Thomas’s hospital directly across the River Thames. As is typical of Monet’s late work, this composition, which has no suggestion of depth and features very free brushwork, verges on abstraction.', 'http://www.metmuseum.org/collections/search-the-collections/110001576');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (48, 17, 6, '017060', 'Water Lilies', 4, 'http://www.metmuseum.org/art/collection/search/438008', '1998.325.2', 'Open Access for Scholarly Content', 'Monet left much of his late work unfinished and released few paintings for sale, reporting that he was not yet satisfied and was still working on them \"with passion.\" This canvas is one of four water-lily pictures that, quite exceptionally, he did complete, sign, and sell in 1919.', 'Monet left much of his late work unfinished and released few paintings for sale, reporting that he was not yet satisfied and was still working on them \"with passion.\" This canvas is one of four water-lily pictures that, quite exceptionally, he did complete, sign, and sell in 1919.', 1919, 101, 200, 'Oil on canvas', 750, 900, NULL, NULL, 'http://www.metmuseum.org/Collections/search-the-collections/110002464');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (49, 17, 19, '017050', 'Rouen Cathedral, Full Sunlight', 1, 'http://www.musee-orsay.fr/en/collections/index-of-works/notice.html?no_cache=1&nnumid=001285', 'RF 2002', '&copy; Home', NULL, NULL, 1894, 107, 73, 'Oil on canvas', 1300, 4125, NULL, NULL, 'https://en.wikipedia.org/wiki/Rouen_Cathedral_(Monet_series)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (50, 17, 7, '017040', 'Woman with a Parasol - Madame Monet and Her Son', 1, 'http://www.nga.gov/content/ngaweb/Collection/art-object-page.61379.html', '1983.1.29', 'Open Access', 'Woman with a Parasol was painted outdoors, probably in a single session of several hours\' duration. The artist intended the work to convey the feeling of a casual family outing rather than a formal portrait, and used pose and placement to suggest that his wife and son interrupted their stroll while he captured their likenesses. The brevity of the moment portrayed here is conveyed by a repertory of animated brushstrokes of vibrant color, hallmarks of the style Monet was instrumental in forming. Bright sunlight shines from behind Camille to whiten the top of her parasol and the flowing cloth at her back, while colored reflections from the wildflowers below touch her front with yellow.', 'Woman with a Parasol was painted outdoors, probably in a single session of several hours\' duration.', 1875, 100, 81, 'Oil on canvas', 500, 940, 'https://www.google.com/culturalinstitute/beta/asset/woman-with-a-parasol-madame-monet-and-her-son/EwHxeymQQnprMg', 'With Manet\'s assistance, Monet found lodging in suburban Argenteuil in late 1871, a move that initiated one of the most fertile phases of his career. Impressionism evolved in the late 1860s from a desire to create full–scale, multi–figure depictions of ordinary people in casual outdoor situations. At its purest, impressionism was attuned to landscape painting, a subject Monet favored. In Woman with a Parasol – Madame Monet and Her Son, his skill as a figure painter is equally evident. Contrary to the artificial conventions of academic portraiture, Monet delineated the features of his sitters as freely as their surroundings. The spontaneity and naturalness of the resulting image were praised when it appeared in the second impressionist exhibition in 1876.', NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (51, 18, 50, '018020', 'Vision of the Sermon', 3, 'https://www.nationalgalleries.org/object/NG 1643', 'NG 1643', NULL, 'This painting depicts the scene from the Bible in which Jacob wrestles an angel. As if in a modern-day wrestling arena, French women watch the wrestling match from afar. This painting was created during Gaugin’s stay in Pont-Avon, France, which is where he created his other masterpieces, The Yellow Christ and The Green Christ. This painting also incorporates elements from his Christ series, which also place Breton French women alongside a Biblical scene, placing them as observers in the story. In his typical style, flat areas of color are outlined by thick black lines, and the figures are void of any shading or depth of color.', 'This painting depicts the scene from the Bible in which Jacob wrestles an angel. As if in a modern-day wrestling arena, French women watch the wrestling match from afar. This painting was created during Gaugin’s stay in Pont-Avon, France.', 1888, 74, 93, 'Oil on canvas', 230, 290, NULL, NULL, 'http://en.wikipedia.org/wiki/Vision_After_the_Sermon');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (52, 18, 29, '018030', 'Self-Portrait with Portrait of Émile Bernard (Les misérables)', 2, 'https://www.vangoghmuseum.nl/en/collection/s0224V1962', 's0224V1962', 'Non commercial use', 'Gauguin painted himself in the guise of Jean Valjean, the main character of Victor Hugo’s novel Les Misérables, equating the vibrant and loving fictional outcast with the misunderstood artists of his time.', 'Gauguin painted himself in the guise of Jean Valjean, the main character of Victor Hugo’s novel Les Misérables, equating the vibrant and loving fictional outcast with the misunderstood artists of his time.', 1888, 45, 55, 'Oil on canvas', 250, 300, 'https://www.google.com/culturalinstitute/beta/asset/self-portrait-with-portrait-of-bernard-les-mis%C3%A9rables/FQFNzW6eTVCpwQ', 'Paul Gauguin’s face bears a troubled expression, for the artist has painted himself in the role of Jean Valjean, the protagonist in the Victor Hugo novel Les Misérables. Gauguin compared this fictional hero, a man rejected by society despite his inner power and love, with the misunderstood artists of his own time, including himself.', NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (54, 18, 51, '018040', 'Yellow Christ', 3, 'https://www.albrightknox.org/collection/search/piece:360/', '360', 'Public Domain', '<em>The Yellow Christ</em>, in addition to <em>The Green Christ</em>, also painted by Gaugin, is said to be one of the key works in Cloisonnism. The Christ in the painting is a direct representation of a crucifix in Pont-Avon, France, where Gaugin visited to paint a number of times. It depicts a yellow form of Christ being crucified in 19th century northern France. French Breton women gather around the cross in prayer. The only shading in the painting is of the women bowed in prayer, the figure of Christ on the cross clearly outlined in black, and his form is flat, typical of the Gaugin’s symbolic style.', '<em>The Yellow Christ</em>, in addition to <em>The Green Christ</em>, also painted by Gaugin, is said to be one of the key works in Cloisonnism. The Christ in the painting is a direct representation of a crucifix in Pont-Avon, France, where Gaugin visited to paint a number of times.', 1889, 92, 73, 'Oil on canvas', 250, 300, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Yellow_Christ');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (55, 18, 6, '018050', 'We Greet Thee Mary', 3, 'http://www.metmuseum.org/art/collection/search/438821', '51.112.2', 'Open Access for Scholarly Content', 'Before embarking on a series of pictures inspired by Polynesian religious beliefs, Gauguin devoted this, his first major Tahitian canvas, to a Christian theme, describing it in a letter of March 1892: \"An angel with yellow wings reveals Mary and Jesus, both Tahitians, to two Tahitian women, nudes dressed in pareus, a sort of cotton cloth printed with flowers that can be draped from the waist. Very somber, mountainous background and flowering trees . . . a dark violet path and an emerald green foreground, with bananas on the left. I\'m rather happy with it.\" Gauguin based much of the composition on a photograph he owned of a bas-relief in the Javanese temple of Borobudur.', 'Before embarking on a series of pictures inspired by Polynesian religious beliefs, Gauguin devoted this, his first major Tahitian canvas, to a Christian theme.', 1891, 114, 88, 'Oil on canvas', 900, 1075, 'https://www.google.com/culturalinstitute/beta/asset/ia-orana-maria-hail-mary/IAEsSZ2MO1CG2A', 'Before embarking on a series of pictures inspired by Polynesian religious beliefs, Gauguin devoted this, his first major Tahitian canvas, to a Christian theme, describing it in a letter of March 1892: \"An angel with yellow wings reveals Mary and Jesus, both Tahitians, to two Tahitian women, nudes dressed in pareus, a sort of cotton cloth printed with flowers that can be draped from the waist. Very somber, mountainous background and flowering trees . . . a dark violet path and an emerald green foreground, with bananas on the left. I\'m rather happy with it.\" Gauguin based much of the composition on a photograph he owned of a bas-relief in the Javanese temple of Borobudur.', NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (56, 18, 49, '018080', 'Where Do We Come From? What Are We? Where Are We Going?', 4, 'http://www.mfa.org/collections/object/where-do-we-come-from-what-are-we-where-are-we-going-32558', '36.270', 'Public domain', 'This is Paul Gaugin’s most famous painting, and he considered it his masterpiece, and the culmination of his thoughts. In Tahiti, as he was painting his masterpiece, Gaugin declared that he would commit suicide upon its completion. Although this was something he had previously attempted, this was not the case, as the artist died of syphilis in 1903. The painting was meant to be read from right to left, with the three main figures in the painting representing the three questions of the title. The figures are arranged from the beginning stages of life, from young figures with a child, to the middle aged figure in the middle, to the elder figure on the left of the painting. The idol in the background, situated behind the elder figure, represents the “Beyond.”', 'This is Paul Gaugin’s most famous painting, and he considered it his masterpiece, and the culmination of his thoughts. In Tahiti, as he was painting his masterpiece, Gaugin declared that he would commit suicide upon its completion.', 1897, 139, 375, 'Oil on canvas', 650, 800, NULL, NULL, 'http://en.wikipedia.org/wiki/Where_Do_We_Come_From%3F_What_Are_We%3F_Where_Are_We_Going%3F');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (57, 19, 52, '019010', 'Self Portrait', 1, 'http://www.dia.org/object-info/662cf867-c9e6-4f6b-9281-8b5ca7dd6c72.aspx', '22.13', '&copy; Detroit Institute of Arts', NULL, NULL, 1887, 35, 27, 'Oil on canvas', 420, 550, 'https://www.google.com/culturalinstitute/beta/asset/self-portrait/GAHTFEDf6XGHKQ', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (58, 19, 29, '019020', 'Potato Eaters', 2, 'https://www.vangoghmuseum.nl/en/collection/s0005V1962', 's0005V1962', 'Non commercial use', 'For <em>The Potato Eaters</em>, Van Gogh’s first major work, he wanted to depict peasants as they really were. He thus chose coarse and ugly models, so they would look as natural as possible in the final work. He made sketches of the work and sent them to his brother, who helped Van Gogh make adjustment in the composition. As far as two years after Van Gogh completed this painting, he considered it his finest work. This painting has also been a main target for art thieves, who have stolen it not once, but twice times. An early version of the painting was stolen in 1988, but later returned with no ransom, and again in 1991, when it was abandoned by the thieves and recovered.', 'For <em>The Potato Eaters</em>, Van Gogh’s first major work, he wanted to depict peasants as they really were. He thus chose coarse and ugly models, so they would look as natural as possible in the final work.', 1885, 82, 114, 'Oil on canvas', 1250, 1350, 'https://www.google.com/culturalinstitute/beta/asset/the-potato-eaters/rQE6qmf9oVuKPA', '\"The potato eaters\' shows a peasant family partaking of their evening meal by the scanty light of an oil lamp. The painting is built up of wide, coarse brushstrokes. While paying little attention to detail, Van Gogh emphasises the light-dark effects all the more. The outer surrounding area of the painting, which is built up of darker tints, contrasts sharply with the areas lit by the oil lamp, the only light source in the work.', 'http://en.wikipedia.org/wiki/The_Potato_Eaters');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (60, 19, 29, '019050', 'Sunflowers', 1, 'https://www.vangoghmuseum.nl/en/collection/s0031V1962', 's0031V1962', 'Non commercial use', 'Van Gogh’s paintings of sunflowers are among his most famous. He did them in Arles, in the south of France, in 1888 and 1889. Vincent painted a total of five large canvases with sunflowers in a vase, with three shades of yellow ‘and nothing else’. In this way, he demonstrated that it was possible to create an image with numerous variations of a single colour, without any loss of eloquence.', 'The sunflower paintings had a special significance for Van Gogh: they communicated ‘gratitude’, he wrote.', 1889, 73, 95, 'Oil on canvas', 1300, 1500, 'http://www.googleartproject.com/museums/vangogh/sunflowers-24', 'Van Gogh produced in total five versions of bouquets of sunflowers in vases, all subtly different from each other. His Sunflowers are among his most famous paintings. He made these floral still lifes to decorate the so-called Yellow House in Arles, where initially he had his studio but would later live.', 'http://en.wikipedia.org/wiki/Sunflowers_(painting)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (61, 19, 29, '019040', 'Décoration for the Yellow House', 2, 'https://www.vangoghmuseum.nl/en/collection/s0032V1962', 's0032V1962', 'Non commercial use', 'The Décoration for the Yellow House was the main project Vincent van Gogh focused on in Arles, from August 1888 until his breakdown the day before Christmas. This Décoration had no pre-defined form or size; the central idea of the Décoration grew step by step, with the progress of his work. Starting with the Sunflowers, portraits were included in the next step. Finally, mid-September 1888, the idea took shape: from this time on he concentrated on size 30 canvases (Toiles de 30), which were all meant to form part of this Décoration', '<em>Sunflowers</em> (original title, in French: Tournesols) are the subject of two series of still life paintings by the Dutch painter Vincent van Gogh. The earlier series executed in Paris in 1887 gives the flowers lying on the ground, while the second set executed a year later in Arles shows bouquets of sunflowers in a vase.', 1888, 72, 92, 'Oil on canvas', 1290, 1540, NULL, NULL, 'http://en.wikipedia.org/wiki/The_D%C3%A9coration_for_the_Yellow_House');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (63, 19, 20, '019070', 'Starry Night', 3, 'http://www.moma.org/collection/works/79802?locale=en', '472.1941', '&copy; Art Resource', 'In the later part of his life, Van Gogh committed himself to an asylum in Saint Remy de Provence. <em>The Starry Night</em> was the view from the window in Van Gogh’s sanitarium bedroom. Although it is a night scene, it was painted during the day. The painting is often referred to as Van Gogh’s magnus opus. As he often sent his works to his brother Theo for his approval, he mailed this one to him in late 1889. He also wrote that he was not so happy about the work, which did not seem complete, as he had originally intended it to simply be a study of the night sky.', 'In the later part of his life, Van Gogh committed himself to an asylum in Saint Remy de Provence. <em>The Starry Night</em> was the view from the window in Van Gogh’s sanitarium bedroom. Although it is a night scene, it was painted during the day.', 1889, 74, 92, 'Oil on canvas', 1340, 1410, 'https://www.google.com/culturalinstitute/beta/asset/the-starry-night/bgEuwDxel93-Pg', 'Van Gogh\'s night sky is a field of roiling energy. Below the exploding stars, the village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh. \"Looking at the stars always makes me dream,\" he said, \"Why, I ask myself, shouldn\'t the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star.\"', 'http://en.wikipedia.org/wiki/The_Starry_Night');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (64, 19, 36, '019060', 'Self Portrait With Bandaged Ear', 1, 'http://courtauld.ac.uk/gallery/collection/impressionism-post-impressionism/vincent-van-gogh-self-portrait-with-bandaged-ear', NULL, '&copy; The Courtauld Gallery', 'This self-portrait was painted shortly after Van Gogh returned home from hospital having mutilated his own ear.', 'This self-portrait was painted shortly after Van Gogh returned home from hospital having mutilated his own ear.', 1889, 60, 50, 'Oil on canvas', 250, 300, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (65, 19, 29, '019080', 'Wheatfield with Crows', 4, 'https://www.vangoghmuseum.nl/en/collection/s0149V1962', 's0149V1962', 'Non commercial use', '<em>Wheatfield with Crows</em> is a July 1890 painting by Vincent van Gogh. It is commonly but mistakenly stated that this was Van Gogh\'s last painting. Art historians are uncertain as to which painting was Van Gogh\'s last, as no clear historical records exist, but the evidence of his letters suggests that Wheatfield with Crows was completed around 10 July and predates such paintings as Auvers Town Hall on 14 July 1890 and Daubigny\'s Garden.', '<em>Wheatfield with Crows</em> is a July 1890 painting by Vincent van Gogh. It is commonly but mistakenly stated that this was Van Gogh\'s last painting.', 1890, 50, 103, 'Oil on canvas', 300, 350, NULL, NULL, 'http://en.wikipedia.org/wiki/Wheatfield_with_Crows');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (66, 20, 11, '020040', 'A Sunday Afternoon on the Island of La Grande Jatt', 2, 'http://www.artic.edu/aic/collections/artwork/27992', NULL, 'Rights-Managed (RM)', 'Seurat spent over two years painting <em>A Sunday Afternoon</em>, focusing meticulously on the landscape of the park. He reworked the original as well as completed numerous preliminary drawings and oil sketches. He would go and sit in the park and make numerous sketches of the various figures in order to perfect their form. He concentrated on the issues of colour, light, and form. \r\nMotivated by study in optical and colour theory, Seurat contrasted miniature dots of colors that, through optical unification, form a single hue in the viewer\'s eye. He believed that this form of painting, now known as pointillism, would make the colors more brilliant and powerful than standard brush strokes. To make the experience of the painting even more vivid, he surrounded it with a frame of painted dots, which in turn he enclosed with a pure white, wooden frame, which is how the painting is exhibited today at the Art Institute of Chicago.\r\nIn creating the picture, Seurat employed the then-new pigment zinc yellow (zinc chromate), most visibly for yellow highlights on the lawn in the painting, but also in mixtures with orange and blue pigments. In the century and more since the painting\'s completion, the zinc yellow has darkened to brown—a colour degeneration that was already showing in the painting in Seurat\'s lifetime.', 'Seurat spent over two years painting <em>A Sunday Afternoon</em>, focusing meticulously on the landscape of the park. He reworked the original as well as completed numerous preliminary drawings and oil sketches. He would go and sit in the park and make numerous sketches of the various figures in order to perfect their form.', 1884, 208, 308, 'Oil on canvas', 425, 550, 'https://www.google.com/culturalinstitute/beta/asset/a-sunday-on-la-grande-jatte-1884/twGyqq52R-lYpA', 'In his best-known and largest painting, Georges Seurat depicted people relaxing in a suburban park on an island in the Seine River called La Grande Jatte. The artist worked on the painting in several campaigns, beginning in 1884 with a layer of small horizontal brushstrokes of complementary colors. He later added small dots, also in complementary colors, that appear as solid and luminous forms when seen from a distance.Seurat\'s use of this highly systematic and \"scientific\" technique, subsequently called Pointillism, distinguished his art from the more intuitive approach to painting used by the Impressionists. Although Seurat embraced the subject matter of modern life preferred by artists such as Claude Monet and Pierre-Auguste Renoir, he went beyond their concern for capturing the accidental and instantaneous qualities of light in nature. Seurat sought to evoke permanence by recalling the art of the past, especially Egyptian and Greek sculpture and even Italian Renaissance frescoes. As he explained to the French poet Gustave Kahn, \"The Panathenaeans of Phidias formed a procession. I want to make modern people, in their essential traits, move about as they do on those friezes, and place them on canvases organized by harmonies of color.\" Some contemporary critics, however, found his figures to be less a nod to earlier art history than a commentary on the posturing and artificiality of modern Parisian society.Seurat made the final changes to La Grande Jatte in 1889. He restretched the canvas in order to add a painted border of red, orange, and blue dots that provides a visual transition between the interior of the painting and his specially designed white frame.', 'http://en.wikipedia.org/wiki/Sunday_Afternoon_on_the_Island_of_La_Grande_Jatte');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (181, 8, 2, '008010', 'The Shootings of May Third 1808', 2, 'https://www.museodelprado.es/en/the-collection/art-work/the-3rd-of-may-1808-in-madrid-or-the-executions/5e177409-2993-4240-97fb-847a02c6496c', 'P00749', 'Private, personal, academic, research or educational', '<em>The Third of May 1808</em> (also known as El tres de mayo de 1808 en Madrid, or Los fusilamientos de la montaña del Príncipe Pío, or Los fusilamientos del tres de mayo) is a painting completed in 1814 by the Spanish painter Francisco Goya, now in the Museo del Prado, Madrid. In the work, Goya sought to commemorate Spanish resistance to Napoleon\'s armies during the occupation of 1808. Along with its companion piece of the same size, The Second of May 1808 (or The Charge of the Mamelukes), it was commissioned by the provisional government of Spain at Goya\'s suggestion.\r\nThe painting\'s content, presentation, and emotional force secure its status as a groundbreaking, archetypal image of the horrors of war. Although it draws on many sources from both high and popular art, The Third of May 1808 marks a clear break from convention. Diverging from the traditions of Christian art and traditional depictions of war, it has no distinct precedent, and is acknowledged as one of the first paintings of the modern era. According to the art historian Kenneth Clark, The Third of May 1808 is \"the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention\".', '<em>The Third of May 1808</em> is a painting completed in 1814 by the Spanish painter Francisco Goya, now in the Museo del Prado, Madrid. In the work, Goya sought to commemorate Spanish resistance to Napoleon\'s armies during the occupation of 1808.', 1814, 268, 347, 'Oil on canvas', 400, 650, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Third_of_May_1808');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (182, 10, 19, '010060', 'The Painter\'s Studio; A Real Allegory', 4, 'http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/latelier-du-peintre-7091.html', 'RF 2257', '&copy; Home', '<em>The Artist\'s Studio: A Real Allegory of a Seven Year Phase in my Artistic and Moral Life\r\n</em> is an allegory of Coubet\'s life as a painter, seen as an heroic venture, in which he is flanked by friends and admirers on the right, and challenges and opposition to the left. Friends on the right include the art critics Champfleury, and Charles Baudelaire, and art collector Alfred Bruyas. On the left are figures (priest, prostitute, grave digger, merchant and others) who represent what Courbet described in a letter to Champfleury as \"the other world of trivial life, the people, misery, poverty, wealth, the exploited and the exploiters, the people who live off death.\"\r\nIn the foreground of the left-hand side is a man with dogs, who was not mentioned in Courbet\'s letter to Champfleury. X-rays show he was painted in later, but his role in the painting is important: he is an allegory of the then current French Emperor, Napoleon III, identified by his famous hunting dogs and iconic twirled moustache. By placing him on the left, Courbet publicly shows his disdain for the emperor and depicts him as a criminal, suggesting that his \"ownership\" of France is an illegal one.', '<em>The Artist\'s Studio: A Real Allegory of a Seven Year Phase in my Artistic and Moral Life\r\n</em> is an allegory of Coubet\'s life as a painter, seen as an heroic venture, in which he is flanked by friends and admirers on the right, and challenges and opposition to the left.', 1855, 361, 598, 'Oil on canvas', 1225, 1325, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Artist%27s_Studio');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (190, 28, 20, '028040', 'La Goulue Arriving at the Moulin Rouge with Two Women', 1, 'http://www.moma.org/collection/works/34936?locale=en', '161.1957', '&copy; Art Resource', 'Louise Weber, nicknamed La Goulue (the glutton), is depicted in the Moulin Rouge—a Montmartre cabaret frequented by the Parisian demimonde—flanked by her sister to her right and, to her left, her lover.', 'Throughout his work he portrayed unconventional individuals in an audacious manner both frank and sympathetic.', 1892, 79, 59, 'Oil on canvas', 1400, 1450, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (191, 28, 70, '028020', 'Moulin Rouge La Goulue', 1, 'http://collection.imamuseum.org/artwork/44070/', '36.4', 'Public Domain', 'The Moulin Rouge dance hall opened in Montmartre in 1889 and Toulouse-Lautrec was a regular from the beginning. For his first poster and for the first time in poster design, Toulouse-Lautrec featured the actual entertainers in the advertisement: La Goulue (the Glutton) dancing the can-can accompanied by her partner \"No-Bones\" Valentin.\r\n\r\nNo one in the fall of 1891 would have predicted that this ephemeral advertisement would become within days a collected item, within weeks the object of press reviews, within months the partner of paintings in avant-garde exhibitions, and within a year the internationally recognized symbol of 1890s Paris.', 'For his first poster and for the first time in poster design, Toulouse-Lautrec featured the actual entertainers in the advertisement', 1891, 191, 117, 'Poster', 80, 100, 'https://www.google.com/culturalinstitute/beta/asset/moulin-rouge-la-goulue/HwHWsv1o7adJ3A', 'The Moulin Rouge dance hall opened in Montmartre in 1889 and Toulouse-Lautrec was a regular from the beginning.ÿ For his first poster and for the first time in poster design, Toulouse-Lautrec featured the actual entertainers in the advertisement: La Goulue (the Glutton) dancing the can-can accompanied by her partner \"No-Bones\" Valentin. No one in the fall of 1891 would have predicted that this ephemeral advertisement would become within days a collected item, within weeks the object of press reviews, within months the partner of paintings in avant-garde exhibitions, and within a year the internationally recognized symbol of 1890s Paris.', 'http://fr.wikipedia.org/wiki/Moulin_rouge_-_La_Goulue');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (192, 29, 22, '029010', 'The Kiss', 3, 'http://digital.belvedere.at/objects/6678/liebespaar', '912', 'Private use', '<em>The Kiss</em> (original <em>Der Kuss</em>) was painted by Gustav Klimt, and is probably his most famous work. He began work on it in 1907 and it is the highpoint of his so-called \'Golden Period\', when he painted a number of works in a similar style. It depicts a couple embracing, their bodies largely hidden by elaborate robes decorated in a style that bears little relation to any historical textile designs. As well as conventional oil paint, gold leaf has been used, one of the aspects of the work that gives it a strikingly modern appearance, while evoking memories of much earlier art. The painting is now in the Österreichische Galerie Belvedere museum, in the Belvedere palace, in Vienna, Austria.\r\nWhen he painted The Kiss Klimt was 45 and still lived at home with his mother and two unmarried sisters - but behind the respectable facade he was a man with a ferocious sexual appetite. Klimt fathered at least three illegitimate children and probably many more. He was obsessed by women and he had a fixation with redheads. It is no surprise that the woman in The Kiss has red hair. According to writer Frank Whitford: \"Together the man and the woman form the shape of a penis and I think that is intentional - it\'s about sex and about the fulfillment of sex between a man and a woman.\"', '<em>The Kiss</em> (original <em>Der Kuss</em>) was painted by Gustav Klimt, and is probably his most famous work. He began work on it in 1907 and it is the highpoint of his so-called \'Golden Period\', when he painted a number of works in a similar style.', 1907, 180, 180, 'Oil and gold on canvas', 230, 320, 'https://www.google.com/culturalinstitute/beta/asset/the-kiss/HQGxUutM_F6ZGg', '“The Kiss”, probably the most popular work by Gustav Klimt, was first exhibited in 1908 at the Kunstschau art exhibition on the site of today’s Konzerthaus. The Ministry bought it from there for the sum of 25,000 Kronen and thus secured for the state one of the icons of Viennese Jugendstil and indeed of European modern art. It undoubtedly represents the culmination of the phase known as the “Golden Epoch”. In this decade, the artist created a puzzling, ornamental encoded programme that revolved around the mystery of existence, love and fulfilment through art. Klimt gained initial inspiration for this in 1903 on a journey to Ravenna to see the Byzantine mosaics. In addition, the painting contains a myriad of motifs from various cultural epochs, above all from Ancient Egyptian mythology. Most recent research has, however, revealed that it is not enough to read the ornaments in the picture just as symbols rooted in tradition aiming to convey a timelessly valid message. They reveal more, such as references to Klimt’s love for Emilie Flöge and the artist’s exploration of the sculptor Auguste Rodin’s art.', 'http://en.wikipedia.org/wiki/The_Kiss_(Klimt_painting)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (194, 32, 24, '032020', 'Portrait of a Girl in Black', 1, 'https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+Paintings/28225/?lng=en', '9125', 'Personal non-commercial use', NULL, NULL, 1913, 116, 89, 'Oil on canvas', 320, 360, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (195, 32, 42, '032030', 'Landscape in Provence', 2, 'https://www.brooklynmuseum.org/opencollection/objects/4725', '39.273', 'Creative Commons - Attribution', NULL, NULL, 1908, 32, 41, 'Oil on canvas', 1180, 1210, NULL, NULL, 'http://www.brooklynmuseum.org/opencollection/objects/4725/Landscape_in_Provence_Paysage_de_Provence');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (213, 45, 13, '045030', 'Soft Construction with Boiled Beans', 2, 'http://www.philamuseum.org/collections/permanent/51315.html', '1950-134-41', 'Salvador Dali, Gala-Salvador Dali Foundation / Artists Rights Society', 'Depicted is a grimacing dismembered figure symbolic of the Spanish state in civil war, alternately grasping upward at itself and holding itself down underfoot, a relationship morbidly prescient of Escher\'s later <em>Drawing Hands</em> (1948). The painting resides at the Philadelphia Museum of Art.\r\nThe painting, which was painted in 1936, is used to show the struggle of war that can sometimes be both self-fulfilling and self-mutilating at the same time. Despite his support of General Franco, Dalí was openly against war, and used this painting to show it. The boiled beans may refer to the ancient Catalan offering to the gods. The little man in the bottom left corner is a representation of the astonishing, awe-inspiring spirits contained in the souls of Anneke and Nikki van Lugo, childhood friends and muses of Dalí.', 'Depicted is a grimacing dismembered figure symbolic of the Spanish state in civil war, alternately grasping upward at itself and holding itself down underfoot, a relationship morbidly prescient of Escher\'s later <em>Drawing Hands</em> (1948).', 1936, 100, 99, 'Oil on canvas', 300, 340, NULL, NULL, 'http://en.wikipedia.org/wiki/Soft_Construction_with_Boiled_Beans_(Premonition_of_Civil_War)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (214, 45, 17, '045040', 'Metamorphosis of Narcissus', 2, 'http://www.tate.org.uk/art/artworks/dali-metamorphosis-of-narcissus-t02343', 'T02343', 'Salvador Dalí, Gala-Salvador Dalí Foundation / Artists Rights Society', 'This painting is from Dalí\'s Paranoiac-critical period. According to Greek mythology, Narcissus fell in love with his own reflection in a pool. Unable to embrace the watery image, he pined away, and the gods immortalized him as a flower. Dali completed this painting in 1937 on his long awaited return to Paris after having had great success in the United States.', 'This painting is from Dalí\'s Paranoiac-critical period. According to Greek mythology, Narcissus fell in love with his own reflection in a pool. Unable to embrace the watery image, he pined away, and the gods immortalized him as a flower.', 1937, 51, 78, 'Oil on canvas', 290, 350, NULL, NULL, 'http://en.wikipedia.org/wiki/Metamorphosis_of_Narcissus');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (219, 49, 70, '049020', 'Grey Hills', 3, 'http://collection.imamuseum.org/artwork/55829/', '43.37', 'Georgia O\'Keeffe Museum / Artists Rights Society', 'Like all her magnified views, the hills of O\'Keeffe\'s New Mexico landscapes threaten to burst the bounds of the frame.\r\n\r\nO\'Keeffe painted this canvas during a trip to a desolate region of New Mexico.', 'Like all her magnified views, the hills of O\'Keeffe\'s New Mexico landscapes threaten to burst the bounds of the frame.\r\n\r\nO\'Keeffe painted this canvas during a trip to a desolate region of New Mexico.', 1941, 76, 51, 'oil on canvas', 340, 380, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (114, 40, 11, '040020', 'Improvisation No. 30 (Cannons)', 3, 'http://www.artic.edu/aic/collections/artwork/8991', NULL, 'Rights-Managed (RM)', 'Although Improvisation No. 30 (Cannons) at first appears to be an almost random assortment of brilliant colors, shapes, and lines, the artist also included leaning buildings, a crowd of people, and a wheeled, smoking cannon.', 'Although Improvisation No. 30 (Cannons) at first appears to be an almost random assortment of brilliant colors, shapes, and lines, the artist also included leaning buildings, a crowd of people, and a wheeled, smoking cannon.', 1913, 109, 109, 'Oil on canvas', 530, 700, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (115, 40, 24, '040010', 'Composition VI', 2, 'https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+Paintings/35744/?lng=en', '9662', 'Personal non-commercial use', NULL, NULL, 1913, 195, 300, 'Oil on canvas', 203, 220, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (118, 41, 51, '041010', 'Dynamism of a Dog on a Leash', 2, 'https://www.albrightknox.org/collection/search/piece:505/', '505', 'Public Domain', NULL, NULL, 1912, 90, 110, 'Oil on canvas', 300, 400, NULL, NULL, 'https://en.wikipedia.org/wiki/Dynamism_of_a_Dog_on_a_Leash');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (119, 41, 35, '041020', 'Abstract Speed + Sound', 2, 'https://www.guggenheim.org/artwork/300', '76.2553.31', 'Artists Rights Society', 'It has been proposed that <em>Abstract Speed + Sound</em> was the central section of a narrative triptych suggesting the alteration of landscape by the passage of a car through the atmosphere. The related Abstract Speed and Abstract Speed—The Car Has Passed would have been the flanking panels. Indications of sky and a single landscape are present in the three paintings; the interpretation of fragmented evocations of the car’s speed varies from panel to panel. The Peggy Guggenheim work is distinguished by crisscross motifs, representing sound, and a multiplication of the number of lines and planes.', 'It has been proposed that <em>Abstract Speed + Sound</em> was the central section of a narrative triptych suggesting the alteration of landscape by the passage of a car through the atmosphere.', 1913, 54, 76, 'Oil on millboard', 320, 360, NULL, NULL, 'http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Giacomo%20Balla&page=1&f=People&cr=1');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (124, 45, 20, '045020', 'Persistence of Memory', 3, 'http://www.moma.org/collection/works/79018?locale=en', '162.1934', 'Salvador Dalí, Gala-Salvador Dalí Foundation / Artists Rights Society', '<em>The Persistence of Memory</em> is by far Salvador Dali’s most recognizable paintings, and there are many references to it in popular culture. Although it was conjectured that the soft melting watches were the result of Dali’s interpretation of the theory of relativity, Dali himself state that their inspiration was camembert cheese melting under the sun. The sequence of melting clocks in a disjointed landscape is the depiction of a dream that Dali had experienced, the figure in the middle of the painting being the face of the dreamer himself. The general interpretation is that the painting, which portrays many melting watches, is a rejection of time as a solid and deterministic influence.', '<em>The Persistence of Memory</em> is by far Salvador Dali’s most recognizable paintings, and there are many references to it in popular culture.', 1931, 24, 33, 'Oil on canvas', 800, 900, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Persistence_of_Memory');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (139, 5, 16, '005010', 'The Oath of the Horatii', 2, 'http://www.louvre.fr/en/oeuvre-notices/oath-horatii', 'INV. 3692', '&copy; Musée du Louvre', '<em>Oath of the Horatii</em> (French: Le Serment des Horaces), is a work by French artist Jacques-Louis David painted in 1784. It depicts a scene from a Roman legend about a dispute between two warring cities; Rome and Alba Longa, when three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from an Alba Longa family, the Curiatii. The three brothers, all of which appear willing to sacrifice their lives for the good of Rome, are shown saluting their father who holds their swords out for them. The principal sources for the story behind David\'s Oath are the first book of Livy (sections 24-6) which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David\'s painting is his own invention.\r\nIt grew to be considered a paradigm of neoclassical art. The painting increased David\'s fame, allowing him to rear his own students.', '<em>Oath of the Horatii</em> (French: Le Serment des Horaces), is a work by French artist Jacques-Louis David painted in 1784. It depicts a scene from a Roman legend about a dispute between two warring cities; Rome and Alba Longa, when three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from an Alba Longa family, the Curiatii.', 1784, 330, 425, 'Oil on canvas', 550, 800, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Oath_of_the_Horatii');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (140, 6, 16, '006010', 'Mademoiselle Caroline Riviere', 1, 'http://www.louvre.fr/en/oeuvre-notices/mademoiselle-caroline-riviere', 'M.I. 1447', '&copy; Musée du Louvre', 'The portrait of Mademoiselle Caroline Rivière was painted in 1806 by the French Neoclassical artist Jean Auguste Dominique Ingres, and today hangs in the Louvre. It is the third of three portraits of the Rivière family the artist painted that year. Caroline\'s father, Philibert Rivière, was a successful court official under Napoleon\'s empire, and sought to commemorate himself, his wife and daughter through a commission with the then young and rising artist - his portraits of Philibert and his wife are also still extant. Although Ingres favoured subject matter drawn from history or Greek legend, at this early stage in his career he earned his living mainly through commissions from wealthy patrons.[1] The family lived outside Paris, at St. Germain-en-Laye, and Mademoiselle Caroline Rivière would have been between 13 and 15 at the time she was portrayed; according to Ingres the \"ravishing daughter\".\r\nThe younger Rivière\'s portrait describes slightly-built and youthful femininity and hints at a hesitant openness. The painting is rendered in bright hues and set against a serene white–blue early spring landscape, the freshness of which was intended to reflect the youth of the sitter. The background is not deeply portrayed; the perspective is shallow and rises—according to the art historian Robert Rosenblum—in \"flattened horizontal tiers against which the figure seems crisply silhouetted as if in low relief.\"\r\nTypical of portraits by Ingres of the time, Caroline Rivière is drawn with a disregard for anatomical accuracy. Her neck is overly elongated, and the bridge of her nose extends too far.Rivière is portrayed with a stiffness and awkwardness typical of her age, and shown in a manner which was intended to emphasise a sense of the nascent purity and simplicity of her youth. Yet the painting is generally seen in the light of pathos and tragedy, as the sitter died within a year of the work being completed', 'The portrait of Mademoiselle Caroline Rivière was painted in 1806 by the French Neoclassical artist Jean Auguste Dominique Ingres, and today hangs in the Louvre. It is the third of three portraits of the Rivière family the artist painted that year.', 1806, 100, 70, 'Oil on canvas', 230, 400, NULL, NULL, 'http://en.wikipedia.org/wiki/Mademoiselle_Caroline_Rivi%C3%A8re');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (142, 7, 16, '007010', 'Death of Sardanapalus', 3, 'http://www.louvre.fr/en/oeuvre-notices/death-sardanapalus', 'R.F. 2346', '&copy; Musée du Louvre', '<em>Death of Sardanapalus</em> (La Mort de Sardanapale) is an oil painting on canvas, dated 1827 by Eugène Delacroix. Its dominant feature is a large divan, with its golden elephants, on which a nude prostrates herself and beseeches the apathetic Sardanapalus for mercy. Sardanapalus (Detail) had ordered his possessions destroyed and sex slaves murdered before immolating himself, once he learned that he was faced with military defeat.', '<em>Death of Sardanapalus</em> (La Mort de Sardanapale) is an oil painting on canvas, dated 1827 by Eugène Delacroix. Its dominant feature is a large divan, with its golden elephants, on which a nude prostrates herself and beseeches the apathetic Sardanapalus for mercy.', 1827, 392, 496, 'Oil on canvas', 850, 1175, NULL, NULL, 'http://en.wikipedia.org/wiki/Death_of_Sardanapalus');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (225, 60, 35, '060010', 'Red Balloon', 3, 'https://www.guggenheim.org/artwork/2143', '48.1172.524', 'Artists Rights Society', NULL, NULL, 1922, 32, 31, 'Oil on muslin primed with chalk', 230, 280, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (230, 60, 20, '060040', 'Twittering Machine', 1, 'http://www.moma.org/collection/works/37347?locale=en', '564.1939', 'Artists Rights Society', 'The \"twittering\" in the title doubtless refers to the birds, while the \"machine\" is suggested by the hand crank. The two elements are, literally, a fusing of the natural with the industrial world. Each bird stands with beak open, poised as if to announce the moment when the misty cool blue of night gives way to the pink glow of dawn. The scene evokes an abbreviated pastoral—but the birds are shackled to their perch, which is in turn connected to the hand crank.\r\nUpon closer inspection, however, an uneasy sensation of looming menace begins to manifest itself. Composed of a wiry, nervous line, these creatures bear a resemblance to birds only in their beaks and feathered silhouettes; they appear closer to deformations of nature. The hand crank conjures up the idea that this \"machine\" is a music box, where the birds function as bait to lure victims to the pit over which the machine hovers. We can imagine the fiendish cacophony made by the shrieking birds, their legs drawn thin and taut as they strain against the machine to which they are fused.', 'The \"twittering\" in the title doubtless refers to the birds, while the \"machine\" is suggested by the hand crank. The two elements are, literally, a fusing of the natural with the industrial world.', 1922, 64, 48, 'Watercolor and ink; oil transfer on paper with gouache and ink borders on cardboard', 600, 800, NULL, NULL, 'http://www.moma.org/collection/object.php?object_id=37347');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (231, 63, 20, '063010', 'Dream', 2, 'http://www.moma.org/collection/works/79277?locale=en', '252.1954', '&copy; Art Resource', 'Although Rousseau completed more than twenty-five jungle paintings in his career, he never traveled outside France. He instead drew on images of the exotic as it was presented to the urban dweller through popular literature, colonial expositions, and the Paris Zoo. The lush jungle, wild animals, and mysterious horn player featured in this work were inspired by Rousseau\'s visits to the city\'s natural history museum and Jardin des plantes (a combined zoo and botanical garden). Of his visits the artist said, \"When I am in these hothouses and see the strange plants from exotic lands, it seems to me that I am entering a dream.\" The nude model in this painting reclines on a sofa, mixing the domestic and the exotic.', 'Although Rousseau completed more than twenty-five jungle paintings in his career, he never traveled outside France. He instead drew on images of the exotic as it was presented to the urban dweller through popular literature, colonial expositions, and the Paris Zoo.', 1910, 204, 298, 'Oil on canvas', 830, 975, 'http://www.googleartproject.com/museums/moma/the-dream-32', NULL, 'http://www.moma.org/collection/browse_results.php?object_id=79277');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (232, 63, 20, '063020', 'Sleeping Gypsy', 2, 'http://www.moma.org/collection/works/80172?locale=en', '646.1939', '&copy; Art Resource', 'Rousseau described the subject of <em>The Sleeping Gypsy</em>: “A wandering Negress, a mandolin player, lies with her jar beside her (a vase with drinking water), overcome by fatigue in a deep sleep. A lion chances to pass by, picks up her scent yet does not devour her. There is a moonlight effect, very poetic.” A toll collector for the city of Paris, Rousseau was a largely self-taught painter, although he had ambitions of entering the Academy. This goal was never realized, but his sharp colors, fantastic imagery, and precise outlines—derived from the style and subject matter of popular print culture— struck a chord with a younger generation of avant-garde painters, including Pablo Picasso, Vasily Kandinsky, and Frida Kahlo.', 'Rousseau described the subject of <em>The Sleeping Gypsy</em>: “A wandering Negress, a mandolin player, lies with her jar beside her (a vase with drinking water), overcome by fatigue in a deep sleep. A lion chances to pass by, picks up her scent yet does not devour her.', 1897, 130, 201, 'Oil on canvas', 750, 950, 'http://www.googleartproject.com/museums/moma/the-sleeping-gypsy-24', NULL, 'http://www.moma.org/collection/browse_results.php?object_id=80172');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (233, 64, 20, '064010', 'Birthday', 2, 'http://www.moma.org/collection/works/79360?locale=en', '275.1949', '&copy; Art Resource', NULL, NULL, 1915, 80, 100, 'Oil on cardboard', 460, 550, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (235, 64, 20, '064030', 'I and the Village', 1, 'http://www.moma.org/collection/works/78984?locale=en', '146.1945', 'Artists Rights Society', 'Painted the year after Chagall came to Paris, I and the Village evokes his memories of his native Hasidic community outside Vitebsk. In the village, peasants and animals lived side by side, in a mutual dependence here signified by the line from peasant to cow, connecting their eyes. The peasant\'s flowering sprig, symbolically a tree of life, is the reward of their partnership. For Hasids, animals were also humanity\'s link to the universe, and the painting\'s large circular forms suggest the orbiting sun, moon (in eclipse at the lower left), and earth.', 'Painted the year after Chagall came to Paris, I and the Village evokes his memories of his native Hasidic community outside Vitebsk.', 1911, 192, 151, 'Oil on canvas', 800, 900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (258, 73, 17, '073010', 'Composition with Yellow, Blue and Red', 3, 'http://www.tate.org.uk/art/artworks/mondrian-composition-with-yellow-blue-and-red-t00648', 'T00648', 'Creative Commons CC-BY-NC-ND 3.0', 'Mondrian’s interest lay in the abstract quality of line but by 1914 he had all but eliminated the curved line from his work. By 1916 he had suppressed any sense of a subject. Still later he developed a new form of rigorous abstraction called Neo-Plasticism in which he limited himself to straight, horizontal and vertical lines and basic primary colours. Typically his compositions were not symmetrical but could scarcely be purer in their elements. He felt this art reflected a greater, universal truth beyond everyday appearance.', 'Mondrian’s interest lay in the abstract quality of line but by 1914 he had all but eliminated the curved line from his work.', 1937, 72, 69, 'Oil on canvas', 700, 900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (259, 73, 20, '073020', 'Broadway Boogie Woogie', 3, 'http://www.moma.org/collection/works/78682?locale=en', '73.1943', '&copy; Art Resource', 'Mondrian, who had escaped to New York from Europe after the outbreak of World War II, delighted in the city\'s architecture. He was also fascinated by American jazz, particularly boogie-woogie, finding its syncopated beat, irreverent approach to melody, and improvisational aesthetic akin to what he called, in his own work, the \"destruction of natural appearance; and construction through continuous opposition of pure means—dynamic rhythm.\" In this painting, his penultimate, Mondrian replaced the black grid that had long governed his canvases with predominantly yellow lines that intersect at points marked by squares of blue and red. These atomized bands of stuttering chromatic pulses, interrupted by light gray, create paths across the canvas suggesting the city\'s grid, the movement of traffic, and blinking electric lights, as well as the rhythms of jazz.', 'These atomized bands of stuttering chromatic pulses, interrupted by light gray, create paths across the canvas suggesting the city\'s grid, the movement of traffic, and blinking electric lights, as well as the rhythms of jazz.', 1942, 127, 127, 'Oil on canvas', 900, 1100, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (145, 10, 34, '010030', 'The Young Ladies on the Banks of the Seine (Summer)', 3, 'http://www.petitpalais.paris.fr/fr/collections/les-demoiselles-des-bords-de-la-seine-ete', 'PPP00377', '&copy; Petit Palais', NULL, NULL, 1856, 174, 200, 'Oil on canvas', 250, 350, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (146, 10, 34, '010040', 'The Sleepers', 2, 'http://www.petitpalais.paris.fr/fr/collections/le-sommeil', 'PPP03130', '&copy; Petit Palais', 'In the 1860’s Courbet began painting erotic nudes scenes, including depictions of female genitalia, nude women in erotic poses, and this painting, depicting lesbianism. Courbet gained much notoriety for his erotic nudes, which he displayed alongside hunting scenes, ensuring a sales and a reputation. <em>Le Sommeil</em> was commissioned by the Turkish diplomat Khalil Bey, who also commissioned <em>The Origin of the World</em>, to include his private collection of erotic paintings. This particular painting was also part of a police report in 1872 when a painting dealer held in it an exhibition. It was not allowed to be displayed publicly until 1988.', 'In the 1860’s Courbet began painting erotic nudes scenes, including depictions of female genitalia, nude women in erotic poses, and this painting, depicting lesbianism.', 1866, 135, 200, 'Oil on canvas', 300, 375, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (152, 13, 19, '013030', 'Arrangement in Grey and Black: Portrait of the Painter\'s Mother', 3, 'http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/arrangement-en-gris-et-noir-n1-445.html', 'RF 699', '&copy; Home', '<em>Arrangement in Grey and Black: The Artist\'s Mother</em>, famous under its colloquial name Whistler\'s Mother, is an 1871 oil-on-canvas painting by American-born painter James McNeill Whistler.  It occasionally tours worldwide. Although an icon of American art, it rarely appears in the United States.', '<em>Arrangement in Grey and Black: The Artist\'s Mother</em>, famous under its colloquial name Whistler\'s Mother, is an 1871 oil-on-canvas painting by American-born painter James McNeill Whistler.  It occasionally tours worldwide. Although an icon of American art, it rarely appears in the United States.', 1871, 144, 162, 'Oil on canvas', 1225, 1300, NULL, NULL, 'http://en.wikipedia.org/wiki/Whistler%27s_Mother');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (153, 14, 13, '014030', 'Large Bathers', 2, 'http://www.philamuseum.org/collections/permanent/59196.html', '1963-116-13', 'Public Domain', 'Renoir labored over this painting for a period of three years before he was happy with its composition. Along with at least two full-sized figure drawings of the models, Renoir also created many preparatory drawings for each of the figures before eventually putting brush to canvas. Due to the criticism he received for the painting’s sculptural smoothness and a change in the artist’s perceived style, Renoir, who was exhausted by the effort, claimed that he would never again devote such a long period of time for a single piece of work.', 'Renoir labored over this painting for a period of three years before he was happy with its composition. Along with at least two full-sized figure drawings of the models, Renoir also created many preparatory drawings for each of the figures before eventually putting brush to canvas.', 1887, 170, 116, 'Oil on canvas', 900, 1000, 'https://www.google.com/culturalinstitute/beta/asset/the-large-bathers/2wE1mqTuUoBmtA', 'Although this painting depicts a fleeting moment when one bather playfully threatens to splash a companion, it has a timeless, monumental quality. The sculptural rendering of the figures against a shimmering landscape and the careful application of dry paint reflect the tradition of seventeenth- and eighteenth-century French painting. Renoir--in an attempt to reconcile this tradition with modern painting--labored over this work for three years, making numerous preparatory drawings for individual figures and at least two full-scale, multifigure drawings. Faced with criticism of his new style after completing The Large Bathers, an exhausted Renoir never again devoted such painstaking effort to a single work.', 'http://www.philamuseum.org/collections/permanent/59196.html');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (154, 15, 19, '015010', 'The Belleli Family', 2, 'http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/la-famille-bellelli-7077.html', 'RF 2210', '&copy; Home', 'Degas’ early masterpiece, <em>The Bellelli Family</em> depicts his aunt, her husband and their two little girls. It is believed that the artist drew each of the figures individually, later combining them in this unique portrayal of their family dynamic. The woman, Degas’ aunt Laura, wears a black dress in mourning for her recently deceased father, whose portrait hangs on the wall behind her. It is likely that this portrait hung at the Paris Salon of 1867, but it was badly hung and as a result was largely ignored by the critics. As a result, Degas kept it in his personal collection, where it remained until he left it to his dealer in 1913. In 1918, after his death, it was revealed an exhibition of the artist’s estate, and was immediately bought for 400,000 by the Luxembourg Museum.', 'Degas’ early masterpiece, <em>The Bellelli Family</em> depicts his aunt, her husband and their two little girls.', 1860, 200, 250, 'Oil on canvas', 1350, 1400, 'https://www.google.com/culturalinstitute/beta/asset/the-bellelli-family/CAEtElXoJtKBnQ', 'Between the ages of 22 and 26, Edgar Degas completed his training in Italy, where part of his familly lived. Here he painted his father\'s sister, Laure, with her husband, the baron Bellelli (1812-1864) and her two daughters, Giula and Giovanna.\r\n\r\nThe baron was an Italian patriot, banned from Naples, who lived an exile in Florence. His wife is in mourning for her father, Hilaire, who died recently and whose portrait appears on the framed redline painting close to his daughter\'s face.', 'http://en.wikipedia.org/wiki/Portrait_of_the_Bellelli_Family');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (157, 15, 5, '015060', 'Young Spartans Exercising', 2, 'https://www.nationalgallery.org.uk/paintings/hilaire-germain-edgar-degas-young-spartans-exercising', 'NG3860', 'Creative Commons BY-NC-ND 4.0', '<em>Young Spartans Exercising</em>, also known as <em>Young Spartans</em>, is an oil on canvas painting by French impressionist artist Edgar Degas. The work depicts two groups of male and female Spartan youths exercising, though the subject matter of the painting has, in recent times, been challenged.', '<em>Young Spartans Exercising</em>, also known as <em>Young Spartans</em>, is an oil on canvas painting by French impressionist artist Edgar Degas. The work depicts two groups of male and female Spartan youths exercising, though the subject matter of the painting has, in recent times, been challenged.', 1860, 110, 155, 'Oil on canvas', 180, 220, NULL, NULL, 'http://en.wikipedia.org/wiki/Young_Spartans_Exercising');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (162, 15, 19, '015100', 'The Tub', 2, 'http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/le-tub-7086.html', 'RF 4046', '&copy; Home', 'Degas, in the Classic line of descent from Ingres as a draughtsman--and one of the greatest in Europe since the giants of the Renaissance--exchanged oil paint for pastel, as in this example, with a sense of greater freedom in being able to draw in the medium as well as to apply color. The word \"classic\" refers to his preoccupation with the human figure but not to any desire to depict an ideal type of humanity. Remarking that \"la femme en général est laide\" he showed no disposition to modify this supposed ugliness. He quickly abandoned the antique subject-matter of pictorial composition after his few early essays.', 'Degas, in the Classic line of descent from Ingres as a draughtsman--and one of the greatest in Europe since the giants of the Renaissance--exchanged oil paint for pastel, as in this example, with a sense of greater freedom in being able to draw in the medium as well as to apply color.', 1886, 60, 83, 'Pastel on paper', 875, 890, NULL, NULL, 'http://www.ibiblio.org/wm/paint/auth/degas/combing-hair/');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (165, 16, 7, '016010', 'Little Girl in a Blue Chair', 2, 'http://www.nga.gov/content/ngaweb/Collection/art-object-page.61368.html', '1983.1.18', 'Open Access', 'Little Girl in a Blue Armchair stands as a testament to the newly formed relationship between Mary Cassatt and the impressionists, and to her assimilation of a freer style of painting. With a limited palette and vibrant brushstroke, she created a dynamic interplay of forms that is echoed in this captured moment between rest and play.', 'Little Girl in a Blue Armchair stands as a testament to the newly formed relationship between Mary Cassatt and the impressionists', 1878, 90, 130, 'Oil on canvas', 670, 800, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (167, 16, 11, '016030', 'Bath', 1, 'http://www.artic.edu/aic/collections/artwork/111442', NULL, 'Rights-Managed (RM)', '<em>The Child\'s Bath</em> (or The Bath) is an 1893 oil painting by American artist Mary Cassatt. The subject matter and the overhead perspective were inspired by Japanese woodblocks. It shows dignity in motherhood and has a style similar to that of Degas.\r\nThe Art Institute of Chicago acquired the piece in 1910. It has since become one of the most popular pieces in the museum.', '<em>The Child\'s Bath</em> (or The Bath) is an 1893 oil painting by American artist Mary Cassatt. The subject matter and the overhead perspective were inspired by Japanese woodblocks.', 1891, 100, 66, 'Oil on canvas', 725, 900, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Child%27s_Bath');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (171, 18, 20, '018010', 'Still Life with Three Puppies', 5, 'http://www.moma.org/collection/works/78616?locale=en', '48.1952', '&copy; Art Resource', 'This painting features three distinct zones: a still life of fruit in the foreground, a row of three blue goblets and apples diagonally bisecting the canvas, and three puppies drinking from a large pan. The incongruous scale and placement of these objects on a dramatically upturned tabletop results in a disorienting composition.\r\nMedium\r\nOil on wood\r\nDimensions\r\n36 1/8 x 24 5/8\" (91.8 x 62.6 cm)\r\nCredit\r\nMrs. Simon Guggenheim Fund\r\nObject number\r\n48.1952\r\nDepartment\r\nPainting and Sculpture\r\nThis work is on view on Floor 5, in Painting and Sculpture I, Gallery 1, with 20 other works online.\r\nPaul Gauguin has 33 works online.\r\nThere are 2,242 paintings online.\r\nThis painting features three distinct zones: a still life of fruit in the foreground, a row of three blue goblets and apples diagonally bisecting the canvas, and three puppies drinking from a large pan. The incongruous scale and placement of these objects on a dramatically upturned tabletop results in a disorienting composition.', 'This painting features three distinct zones: a still life of fruit in the foreground, a row of three blue goblets and apples diagonally bisecting the canvas, and three puppies drinking from a large pan.', 1888, 88, 62, 'Oil on canvas', 875, 1225, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (172, 18, 51, '018060', 'Spirit of the Dead Watching', 2, 'https://www.albrightknox.org/collection/search/piece:511/', '515', 'Public Domain', '<em>Spirit of the Dead Watching</em> (Manao tupapau) is an 1892 oil on burlap canvas painting by Paul Gauguin, depicting a nude Tahitian girl lying on her stomach. An old woman is seated behind her. In Tahitian mythology the title may refer to either the girl imagining the ghost, or the ghost imagining her.\r\nThe subject of the painting was Gauguin\'s Tahitian wife Tehura, then 14 years old, who one night, according to Gauguin, was lying in fear when he arrived late home: \"immobile, naked, lying face downward on the bed with the eyes inordinately large with fear . . . Might she not with her frightened face take me for one of the demons and spectres of the Tupapaus, with which the legends of her race people sleepless nights?\" The spirit she fears is personified by the old woman seated at left. The strong colors are symbolic of the native Polynesian belief that phosphorescent lights were manifestations of the spirits of the dead.', '<em>Spirit of the Dead Watching</em> (Manao tupapau) is an 1892 oil on burlap canvas painting by Paul Gauguin, depicting a nude Tahitian girl lying on her stomach. An old woman is seated behind her. In Tahitian mythology the title may refer to either the girl imagining the ghost, or the ghost imagining her.', 1892, 72, 92, 'Oil on burlap mounted on canvas', 225, 325, NULL, NULL, 'http://en.wikipedia.org/wiki/Spirit_of_the_Dead_Watching');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (173, 12, 19, '012010', 'Luncheon on the Grass', 2, 'http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/le-dejeuner-sur-lherbe-7123.html', 'RF 1668', '&copy; Home', '<em>The Luncheon on the Grass</em> (Le déjeuner sur l\'herbe) was rejected by the Paris Salon in 1863 but Manet exhibited it at the Salon des Refusés (Salon of the Rejected) later in the year. Emperor Napoleon III had initiated The Salon des Refusés after the Paris Salon rejected more than 4,000 paintings in 1863.\r\nThe painting\'s juxtaposition of fully dressed men and a nude woman was controversial, as was its abbreviated, sketch-like handling, an innovation that distinguished Manet from Courbet. At the same time, Manet\'s composition reveals his study of the old masters, as the disposition of the main figures is derived from Marcantonio Raimondi\'s engraving of the Judgement of Paris (c. 1515) based on a drawing by Raphael.\r\nTwo additional works that are cited by scholars as important precedents for Le déjeuner sur l\'herbe are <em>Pastoral Concert</em> (c. 1510, The Louvre) and <em>The Tempest</em> (Gallerie dell\'Accademia, Venice), both of which are attributed variously to Italian Renaissance masters Giorgione or Titian. The Tempest is an enigmatic painting that features a fully dressed man and a nude woman in a rural setting. The man is standing to the left and gazing to the side, apparently at the woman, who is seated and is breastfeeding a baby; the relationship between the two figures is unclear. In Pastoral Concert, two clothed men and a nude woman are seated on the grass, engaged in music making, while a second nude woman stands beside them.', '<em>The Luncheon on the Grass</em> (Le déjeuner sur l\'herbe) was rejected by the Paris Salon in 1863 but Manet exhibited it at the Salon des Refusés (Salon of the Rejected) later in the year. Emperor Napoleon III had initiated The Salon des Refusés after the Paris Salon rejected more than 4,000 paintings in 1863.', 1863, 214, 269, 'Oil on canvas', 1225, 1300, 'https://www.google.com/culturalinstitute/beta/asset/luncheon-on-the-grass/twELHYoc3ID_VA', NULL, 'http://en.wikipedia.org/wiki/Le_d%C3%A9jeuner_sur_l%27herbe');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (178, 13, 7, '013010', 'Symphony in White, No. 1: The White Girl', 5, 'http://www.nga.gov/content/ngaweb/Collection/art-object-page.12198.html', '1943.6.2', 'Open Access', '<em>Symphony in White, No. 1</em>, also known as <em>The White Girl</em>, is a painting by James Abbott McNeill Whistler. The work shows a woman in full figure standing on a wolf skin in front of a white curtain with a lily in her hand. The colour scheme of the painting is almost entirely white. The model is Joanna Heffernan, the artist\'s mistress. Though the painting was originally called The White Girl, Whistler later started calling it Symphony in White, No. 1. By referring to his work in such abstract terms, he intended to emphasise his \"art for art\'s sake\" philosophy.\r\nWhistler created the painting in the winter of 1861–62, though he later returned to it and made alterations. It was rejected both at the Royal Academy and at the Salon in Paris, but eventually accepted at the Salon des Refusés in 1863. This exhibition also featured Édouard Manet\'s famous Déjeuner sur l\'herbe, and together the two works gained a lot of attention. <em>The White Girl</em> shows clearly the influence of the Pre-Raphaelite Brotherhood, with whom Whistler had recently come in contact. The painting has been interpreted by later art critics both as an allegory of innocence and its loss, and as a religious allusion to the Virgin Mary.', '<em>Symphony in White, No. 1</em>, also known as <em>The White Girl</em>, is a painting by James Abbott McNeill Whistler. The work shows a woman in full figure standing on a wolf skin in front of a white curtain with a lily in her hand.', 1862, 215, 108, 'Oil on canvas', 700, 900, NULL, NULL, 'http://en.wikipedia.org/wiki/Symphony_in_White,_No._1:_The_White_Girl');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (179, 13, 52, '013020', 'Nocturne in Black and Gold: The Falling Rocket', 1, 'http://www.dia.org/object-info/7d1a59d3-6163-440a-925a-b0978f1f8811.aspx', '46.309', '&copy; Detroit Institute of Arts', '<em>Nocturne in Black and Gold – The Falling Rocket</em> is an 1870s painting by James Abbott McNeill Whistler. It depicts a fireworks show in the night sky over Battersea Bridge in an industrial London city park.\r\nThis painting was first shown at the Grosvenor Gallery in London in 1877. It is the last of the London Nocturnes and is now widely acknowledged to be the high point of Whistler\'s middle period.', '<em>Nocturne in Black and Gold – The Falling Rocket</em> is an 1870s painting by James Abbott McNeill Whistler. It depicts a fireworks show in the night sky over Battersea Bridge in an industrial London city park.', 1874, 60, 47, 'Oil on wood', 125, 200, 'https://www.google.com/culturalinstitute/beta/asset/nocturne-in-black-and-gold-the-falling-rocket/BwH3OB1BV9luHw', NULL, 'http://en.wikipedia.org/wiki/Nocturne_in_Black_and_Gold:_The_Falling_Rocket');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (339, 14, 19, '014010', 'Dance at Le Moulin de la Galette', 2, 'http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/bal-du-moulin-de-la-galette-7083.html', 'RF 2739', '&copy; Home', '<em>Dance at Moulin de la Galette</em> is one of Impressionism’s most highly revered masterpieces. The scene is of a Sunday afternoon at Moulin de la Galette, where Parisians would typically dress up and spend all day dancing, drinking, and eating galettes, or flat cakes. The painting was in the collection of Gustave Caillebotte, but it was claimed by the French government upon his death due to the non payment of death duties. It was later transferred from the Luxembourg Museum, to the Louvre, and then later to the Musee d’Orsay. Its sale price at auction in 2009 was the fifth highest price ever paid for a painting at auction.', '<em>Dance at Moulin de la Galette</em> is one of Impressionism’s most highly revered masterpieces. The scene is of a Sunday afternoon at Moulin de la Galette, where Parisians would typically dress up and spend all day dancing, drinking, and eating galettes, or flat cakes.', 1876, 131, 175, 'Oil on canvas', 400, 550, 'https://www.google.com/culturalinstitute/beta/asset/dance-at-le-moulin-de-la-galette/rQEx7CtGiKE3yg', 'This painting is doubtless Renoir\'s most important work of the mid 1870\'s and was shown at the Impressionist exhibition in 1877. Though some of his friends appear in the picture, Renoir\'s main aim was to convey the vivacious and joyful atmosphere of this popular dance garden on the Butte Montmartre. The study of the moving crowd, bathed in natural and artificial light, is handled using vibrant, brightly coloured brushstrokes. The somewhat blurred impression of the scene prompted negative reactions from contemporary critics.', 'http://en.wikipedia.org/wiki/Bal_du_moulin_de_la_Galette');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (287, 12, 19, '012020', 'Olympia', 2, 'http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/olympia-7087.html', 'RF 644', '&copy; Home', 'As he had in <em>Luncheon on the Grass</em>, Manet again paraphrased a respected work by a Renaissance artist in the painting <em>Olympia</em> (1863), a nude portrayed in a style reminiscent of early studio photographs, but whose pose was based on Titian\'s <em>Venus of Urbino</em> (1538). The painting is also reminiscent of Francisco Goya\'s painting, <em>The Nude Maja</em> (1800).\r\nManet embarked on the canvas after being challenged to give the Salon a nude painting to display. His uniquely frank depiction of a self-assured prostitute was accepted by the Paris Salon in 1865, where it created a scandal. According to Antonin Proust, \"only the precautions taken by the administration prevented the painting being punctured and torn\" by offended viewers. The painting was controversial partly because the nude is wearing some small items of clothing such as an orchid in her hair, a bracelet, a ribbon around her neck, and mule slippers, all of which accentuated her nakedness, sexuality, and comfortable courtesan lifestyle. The orchid, upswept hair, black cat, and bouquet of flowers were all recognized symbols of sexuality at the time. This modern Venus\' body is thin, counter to prevailing standards; the painting\'s lack of idealism rankled viewers. The painting\'s flatness, inspired by Japanese wood block art, serves to make the nude more human and less voluptuous. A fully dressed black servant is featured, exploiting the then-current theory that black people were hyper-sexed. That she is wearing the clothing of a servant to a courtesan here, furthers the sexual tension of the piece.\r\nOlympia\'s body as well as her gaze is unabashedly confrontational. She defiantly looks out as her servant offers flowers from one of her male suitors. Although her hand rests on her leg, hiding her pubic area, the reference to traditional female virtue is ironic; a notion of modesty is notoriously absent in this work. A contemporary critic denounced Olympia\'s \"shamelessly flexed\" left hand, which seemed to him a mockery of the relaxed, shielding hand of Titian\'s Venus.Likewise, the alert black cat at the foot of the bed strikes a sexually rebellious note in contrast to that of the sleeping dog in Titian\'s portrayal of the goddess in his Venus of Urbino.', 'As he had in <em>Luncheon on the Grass</em>, Manet again paraphrased a respected work by a Renaissance artist in the painting <em>Olympia</em> (1863), a nude portrayed in a style reminiscent of early studio photographs, but whose pose was based on Titian\'s <em>Venus of Urbino</em> (1538).', 1863, 130, 190, 'Oil on canvas', 1175, 1225, 'https://www.google.com/culturalinstitute/beta/asset/olympia/ywFEI4rxgCSO1Q', 'With Olympia, Manet reworked the traditional theme of the female nude, using a strong, uncompromising technique. Both the subject matter and its depiction explain the scandal caused by this painting at the 1865 Salon.\r\n\r\nEven though Manet quoted numerous formal and iconographic references, such as Titian\'s Venus of Urbino, Goya\'s Maja desnuda, and the theme of the odalisque with her black slave, already handled by Ingres among others, the picture portrays the cold and prosaic reality of a truly contemporary subject.', 'http://en.wikipedia.org/wiki/Olympia_(Manet)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (288, 12, 5, '012050', 'Music in the Tuileries Gardens', 2, 'https://www.nationalgallery.org.uk/paintings/edouard-manet-music-in-the-tuileries-gardens', 'NG3260', 'Creative Commons BY-NC-ND 4.0', 'It is an early example of Manet\'s painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his life-long interest in the subject of leisure.', 'It is an early example of Manet\'s painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his life-long interest in the subject of leisure.', 1862, 76, 118, 'Oil on canvas', 300, 350, NULL, NULL, 'http://en.wikipedia.org/wiki/Music_in_the_Tuileries');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (290, 12, 19, '012030', 'Balcony', 1, 'http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/le-balcon-7121.html', 'RF 2772', '&copy; Home', NULL, NULL, 1868, 170, 124, 'Oil on canvas', 1175, 1225, 'https://www.google.com/culturalinstitute/beta/asset/the-balcony/ggFK0UgXAd7OCA', 'When Manet painted this piece, scenes of bourgeois life were in vogue. Yet The Balcony went against the conventions of the day. All the subjects were close acquaintances of the artist, especially Berthe Morisot who here, pictured sitting in the foreground, makes her first appearance in Manet\'s work, and who went on to become one of his favourite models. The painting tells no story or anecdote; the protagonists are frozen, as if isolated in an interior dream, evidence that Manet was freeing himself from academic constraints, despite the obvious reference to Goya\'s Majas at the Balcony.', 'https://commons.wikimedia.org/wiki/File:Edouard_Manet_-_The_Balcony_-_Google_Art_Project.jpg');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (291, 12, 7, '012040', 'Railroad', 3, 'http://www.nga.gov/content/ngaweb/Collection/art-object-page.43624.html', '1956.10.1', 'Open Access', '<em>The Railway</em>, widely known as <em>The Gare Saint-Lazare</em>, was painted in 1873. The setting is the urban landscape of Paris in the late 19th century. Using his favorite model in his last painting of her, a fellow painter, Victorine Meurent, also the model for <em>Olympia</em> and the <em>Luncheon on the Grass</em>, sits before an iron fence holding a sleeping puppy and an open book in her lap. Next to her is a little girl with her back to the painter, who watches a train pass beneath them.\r\nInstead of choosing the traditional natural view as background for an outdoor scene, Manet opts for the iron grating which \"boldly stretches across the canvas\". The only evidence of the train is its white cloud of steam. In the distance, modern apartment buildings are seen. This arrangement compresses the foreground into a narrow focus. The traditional convention of deep space is ignored.', '<em>The Railway</em>, widely known as <em>The Gare Saint-Lazare</em>, was painted in 1873. The setting is the urban landscape of Paris in the late 19th century. Using his favorite model in his last painting of her, a fellow painter, Victorine Meurent, also the model for <em>Olympia</em> and the <em>Luncheon on the Grass</em>, sits before an iron fence holding a sleeping puppy and an open book in her lap.', 1872, 93, 112, 'Oil on canvas', 725, 860, 'https://www.google.com/culturalinstitute/beta/asset/the-railway/kAHNAxL76AyLUA', 'The Gare Saint–Lazare, in 1873 the largest and busiest train station in Paris, is unseen in this painting. Advances in industrial technology and train travel, intrinsic to most contemporary depictions of the site, remain in Manet\'s painting the almost invisible background for a genre depiction of a woman and child. Confined to a narrow space backed by the black bars of an iron fence and isolated by clouds of steam sent up from a train passing below, Manet\'s two models are enigmatic presences. The woman is Victorine Meurent, Manet\'s favorite model in the 1860s, and the child was the daughter of a fellow painter who allowed Manet to use his garden to create The Railway. The composition is a complex contrapuntal apposition of the two figures: one clad in a white dress trimmed with a blue bow and the other dressed in dark blue trimmed with white; one with hair bound by a narrow black ribbon and the other with flowing tresses under a black hat; and one a child standing and looking at anonymous trains and buildings in the background and the other a seated adult staring forward to confront viewers directly.', NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (294, 20, 5, '020010', 'Bathing At Asnieres', 2, 'https://www.nationalgallery.org.uk/paintings/georges-seurat-bathers-at-asnieres', 'NG3908', 'Creative Commons BY-NC-ND 4.0', '<em>Bathers at Asnières</em> (French: <em>Une Baignade, Asnières</em>) is an oil-on-canvas painting by the French artist Georges-Pierre Seurat, the first of his two masterpieces on the monumental scale. Seurat borrowed from sources such as those of the fresco painters of the 15th century, the French classicism of Nicolas Poussin, and of contemporary Impressionism to create a unified canvas of a suburban, but placid Parisian riverside scene. The isolated figures and their clothes piled sculpturally on the riverbank, together with the trees, and austere boundary walls and buildings, are presented in a formal layout. A combination of complex brushstroke techniques, and a meticulous application of contemporary colour theory bring to the composition a sense of gentle vibrancy and timelessness.\r\nSeurat was twenty-four years old when he painted <em>Bathers at Asnières</em>, and he was to live for just another seven years. The Bathers puzzled many of Seurat’s contemporaries, and the picture was not widely acclaimed during his lifetime. An appreciation of it grew, however, during the twentieth century, and today it hangs in the National Gallery, London, where it is considered one of the highlights of the gallery’s collection of paintings.', '<em>Bathers at Asnières</em> (French: <em>Une Baignade, Asnières</em>) is an oil-on-canvas painting by the French artist Georges-Pierre Seurat, the first of his two masterpieces on the monumental scale. Seurat borrowed from sources such as those of the fresco painters of the 15th century, the French classicism of Nicolas Poussin, and of contemporary Impressionism to create a unified canvas of a suburban, but placid Parisian riverside scene.', 1883, 201, 300, 'Oil on canvas', 825, 900, NULL, NULL, 'http://en.wikipedia.org/wiki/Bathers_at_Asni%C3%A8res');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (296, 20, 6, '020050', 'Circus Sideshow (Parade de cirque)', 2, 'http://www.metmuseum.org/art/collection/search/437654', '61.101.17', 'Open Access for Scholarly Content', 'At the Salon des Indépendants in 1888 Seurat demonstrated the versatility of his technique by exhibiting Circus Sideshow, a nighttime outdoor scene in artificial light, and Models, an indoor, daylight scene (Barnes Foundation, Philadelphia). This is Seurat’s first nocturnal painting and his first depiction of popular entertainment. It represents the parade, or sideshow, of the Circus Corvi, which had set up near the place de la Nation in Paris in the spring of 1887. Sideshows were held on the street, for free, to entice passersby to purchase tickets. The onlookers at the far right are queued on stairs leading to the box office.q', 'At the Salon des Indépendants in 1888 Seurat demonstrated the versatility of his technique by exhibiting Circus Sideshow, a nighttime outdoor scene in artificial light, and Models, an indoor, daylight scene', 1888, 100, 156, 'Oil on canvas', 605, 845, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (299, 21, 6, '021030', 'Portrait of Uncle Dominique, as a Monk', 1, 'http://www.metmuseum.org/art/collection/search/435869', '1993.400.1', 'Open Access for Scholarly Content', 'In the fall of 1866 Cézanne painted nine portraits of his maternal uncle, Dominique Aubert. The forty-nine-year-old bailiff indulged his nephew with multiple sittings and agreed to pose in various costumes. Whereas he is shown here in the habit of a Dominican monk, in another likeness of this date, also in the Metropolitan\'s collection, he wears a tassled cap and robe.', 'In the fall of 1866 Cézanne painted nine portraits of his maternal uncle, Dominique Aubert. The forty-nine-year-old bailiff indulged his nephew with multiple sittings and agreed to pose in various costumes.', 1866, 65, 55, 'Oil on canvas', 250, 280, NULL, NULL, 'http://www.metmuseum.org/collections/search-the-collections/110000302');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (300, 21, 11, '021040', 'The Basket of Apples', 3, 'http://www.artic.edu/aic/collections/artwork/111436', NULL, 'Rights-Managed (RM)', '<em>The Basket of Apples</em> is a still life oil painting noted for its disjointed perspective. It has been described as a balanced composition due to its unbalanced parts; the tilted bottle, the incline of the basket, and the foreshortened lines of the cookies meshing with the lines of the tablecloth. Additionally, the right side of the tabletop is not in the same plane as the left side, as if the image simultaneously reflects two viewpoints. Paintings such as this helped form a bridge between Impressionism and Cubism.', '<em>The Basket of Apples</em> is a still life oil painting noted for its disjointed perspective. It has been described as a balanced composition due to its unbalanced parts; the tilted bottle, the incline of the basket, and the foreshortened lines of the cookies meshing with the lines of the tablecloth.', 1895, 65, 80, 'Oil on canvas', 800, 1050, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Basket_of_Apples');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (301, 21, 13, '021050', 'Large Bathers', 3, 'http://www.philamuseum.org/collections/permanent/104464.html', 'W1937-1-1', 'Public Domain', '<em>The Large Bathers</em> (French: <em>Les Grandes Baigneuses</em>) is an oil painting by French artist Paul Cézanne first exhibited in 1906. The painting is the largest of a series of \"Bather\" paintings by Cézanne; the others are in the Museum of Modern Art in New York City and the National Gallery, London. Occasionally referred to as the Big Bathers or Large Bathers to distinguish it from the smaller works, the painting is considered one of the masterpieces of modern art, and is often considered Cézanne\'s finest work. Cézanne worked on the painting for seven years, and it remained unfinished at the time of his death in 1906. The painting was purchased in 1937 for $110,000 with funds from a trust fund for the Philadelphia Museum of Art by their major benefactor Joseph E. Widener. It was previously owned by Leo Stein.\r\nThe abstract nude females present in <em>Large Bathers</em> give the painting tension and density. It is exceptional among his work in symmetrical dimensions, with the adaption of the nude forms to the triangular pattern of the trees and river. Using the same technique as employed in painting landscapes and still lifes, <em>Large Bathers</em> is reminiscent of the work of Titian and Peter Paul Rubens. Comparisons are also often made with the other famous group of nude women of the same period, Picasso\'s <em>Les Demoiselles d\'Avignon</em>.', '<em>The Large Bathers</em> (French: <em>Les Grandes Baigneuses</em>) is an oil painting by French artist Paul Cézanne first exhibited in 1906. The painting is the largest of a series of \"Bather\" paintings by Cézanne.', 1899, 208, 249, 'Oil on canvas', 300, 375, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Bathers_(C%C3%A9zanne)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (310, 16, 7, '016060', 'Girl Arranging Her Hair', 1, 'http://www.nga.gov/content/ngaweb/Collection/art-object-page.46572.html', '1963.10.97', 'Open Access', 'It was Edgar Degas who invited Cassatt to participate in the impressionist exhibitions, and the two remained close associates. Degas respected Cassatt\'s work, seeing in her careful compositions an approach to art that was deliberate and well thought out. Degas was known for his sharp criticism of other artists\' work. He once complained to Cassatt: \"What do women know about style?\" She took his words as a challenge to produce a work whose appeal derived, not from a conventionally pretty subject, but purely from artifice, the painter\'s skill, and style. This painting is the result.', 'The beauty of the picture comes from the rigor of the composition and its harmonized contrast of pinks and blues—in the sitter\'s nightdress, in the background, and even in her skin.', 1886, 75, 62, 'Oil on canvas', 485, 745, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (333, 85, 13, '085020', 'Male and Female', 1, 'http://www.philamuseum.org/collections/permanent/69527.html?mulR=774362296|1', '1974-232-1', 'Pollock-Krasner Foundation / Artists Rights Society', 'In November 1943 this painting was included in Jackson Pollock\'s stunning solo exhibition at Art of This Century, the innovative New York art gallery run by legendary art patron Peggy Guggenheim. As its title suggests, the work depicts a male figure, embodied in the black columnar form at right, with its mysterious arithmetic graffiti, and a curvy female figure at left, with marvelous catlike eyelashes. Standing on tiny triangular feet, both figures are surrounded by splashed and smeared oil paint that enhances the sense of energy inherent in the two vertical forms, while also foreshadowing the famous \"drip\" technique that Pollock would develop later that decade.', 'As its title suggests, the work depicts a male figure, embodied in the black columnar form at right, with its mysterious arithmetic graffiti, and a curvy female figure at left, with marvelous catlike eyelashes.', 1942, 186, 124, 'Oil on canvas', 550, 700, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (334, 85, 20, '085030', 'Number 1A', 2, 'http://www.moma.org/collection/works/78699?locale=en', '77.1950', 'Pollock-Krasner Foundation / Artists Rights Society', 'While the style of \"drip\" painting has become synonymous with the name Jackson Pollock, here the artist has autographed the work even more directly, with several handprints found at the composition\'s upper right. Around this time Pollock stopped giving his paintings evocative titles and began instead to number them. His wife, artist Lee Krasner, later explained, \"Numbers are neutral. They make people look at a painting for what it is—pure painting.\" Collectors did not immediately appreciate Pollock\'s radical new style, and when first exhibited, in 1949 (then titled Number 1, 1948), this painting remained unsold.', 'While the style of \"drip\" painting has become synonymous with the name Jackson Pollock, here the artist has autographed the work even more directly, with several handprints found at the composition\'s upper right.', 1948, 173, 264, 'Oil on canvas', 700, 900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (366, 92, 4, '092010', 'Madonna and Child', 1, 'http://www.uffizi.firenze.it/catalogo/', '1890, 1598', 'Public domain', '<em>Madonna with Child</em> is a painting by the Italian Renaissance artist Filippo Lippi, executed around 1465. It is one of the few works by Lippi which was not executed with the help of his workshop and was an influential model for later depictions of the Madonna and Child, including those by Sandro Botticelli.', '<em>Madonna with Child</em> is a painting by the Italian Renaissance artist Filippo Lippi, executed around 1465. It is one of the few works by Lippi which was not executed with the help of his workshop and was an influential model for later depictions of the Madonna and Child, including those by Sandro Botticelli.', 1465, 95, 64, 'Tempera on panel', 500, 600, 'https://www.google.com/culturalinstitute/beta/asset/madonna-and-child-with-two-angels/9AE9qn4SE5pOPg', 'A famous example of the artist\'s maturity, this painting was transferred to the Uffizi in 1796 from the Villa of Poggio Imperiale. Thanks to the spontaneity and naturalness of the composition, it reaped great interest as an iconographic model for numerous artists including the young Botticelli, apprenticed to the friar Lippi. On the back of the panel there is an autograph charcoal sketch of a female figure.', 'http://en.wikipedia.org/wiki/Madonna_and_Child_(Fra_Lippo_Lippi)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (369, 92, 41, '092040', 'Adoration in the Forest', 3, 'http://www.smb-digital.de/eMuseumPlus?service=ExternalInterface&module=collection&objectId=864730&viewType=detailView', '69', 'Creative Commons Attribution-NonCommercial-ShareAlike 3.0', '<em>Adoration in the Forest</em> is a painting completed before 1459 by the Carmelite friar, Filippo Lippi, of the Virgin Mary and the newly born Christ Child lying on the ground, in the unusual setting of a steep, dark, wooded wilderness. There are no shepherds, kings, ox, ass – there is no Joseph. It was painted for one of the wealthiest men in Renaissance Florence, the banker Cosimo de Medici. In later times it had a turbulent history. Hitler ordered it to be hidden in WW2 and it became part of the story of a mutiny in the U.S. Army.', '<em>Adoration in the Forest</em> is a painting completed before 1459 by the Carmelite friar, Filippo Lippi, of the Virgin Mary and the newly born Christ Child lying on the ground, in the unusual setting of a steep, dark, wooded wilderness.', 1459, 1185, 1295, 'Oil on wood', 1200, 1600, 'http://www.googleartproject.com/collection/gemaldegalerie-staatliche-museen-zu-berlin/artwork/the-adoration-in-the-forest-filippo-lippi/331331/', NULL, 'http://en.wikipedia.org/wiki/Adoration_in_the_Forest_(Lippi)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (370, 93, 5, '093010', 'Baptism of Christ', 1, 'https://www.nationalgallery.org.uk/paintings/piero-della-francesca-the-baptism-of-christ', 'NG665', 'Creative Commons BY-NC-ND 4.0', 'The <em>Baptism of Christ</em> was commissioned presumably some time about 1440 by the Camaldolese Monastery of Sansepolcro in Tuscany, originally part of a triptych. Its dating to Piero della Francesca\'s early career is evidenced by the strong relationship with the \"light painting\" of his master, Domenico Veneziano. It portrays Christ being baptised by John, his head surmounted by a dove representing the Holy Spirit. Christ, John\'s hand, the bird and the bowl form an axis which divides the painting in two symmetrical parts. A second division is created by the tree on the left, which instead divides it according to the golden ratio.', 'The <em>Baptism of Christ</em> was commissioned presumably some time about 1440 by the Camaldolese Monastery of Sansepolcro in Tuscany, originally part of a triptych. Its dating to Piero della Francesca\'s early career is evidenced by the strong relationship with the \"light painting\" of his master, Domenico Veneziano.', 1450, 167, 116, 'Tempera on panel', 900, 1100, NULL, NULL, 'http://en.wikipedia.org/wiki/Baptism_of_Christ_(Piero_della_Francesca)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (373, 94, 81, '094010', 'Lamentation of Christ', 2, 'http://pinacotecabrera.org/collezione-online/opere/cristo-morto-nel-sepolcro-e-tre-dolenti/', '352', 'Public Domain', 'The <em>Lamentation of Christ</em> is a painting of about 1480 by the Italian Renaissance artist Andrea Mantegna. While the dating of the piece is debated, it was completed between 1475 and 1501, probably in the early 1480s. It portrays the body Christ supine on a marble slab. He is watched over by the Virgin Mary and Saint John whose cut-off profile is behind the Virgin Mary, who are weeping for his death.', 'The <em>Lamentation of Christ</em> is a painting of about 1480 by the Italian Renaissance artist Andrea Mantegna. While the dating of the piece is debated, it was completed between 1475 and 1501, probably in the early 1480s. It portrays the body Christ supine on a marble slab. He is watched over by the Virgin Mary and Saint John whose cut-off profile is behind the Virgin Mary, who are weeping for his death.', 1480, 68, 81, 'Tempera on canvas', 400, 600, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Lamentation_over_the_Dead_Christ_(Mantegna)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (374, 94, 18, '094020', 'St. Sebastian', 5, 'https://www.khm.at/de/object/285f89b802/', '301', 'Only for private use', '<em>St. Sebastian</em> is the subject of three paintings by the Italian Early Renaissance master Andrea Mantegna. The Paduan artist lived in a period of frequent plagues; Sebastian was considered protector against the plague as having been shot through by arrows, and it was thought that plague spread abroad through the air.', '<em>St. Sebastian</em> is the subject of three paintings by the Italian Early Renaissance master Andrea Mantegna. The Paduan artist lived in a period of frequent plagues; Sebastian was considered protector against the plague as having been shot through by arrows, and it was thought that plague spread abroad through the air.', 1457, 300, 680, 'Oil on panel', 900, 1200, 'http://www.googleartproject.com/collection/kunsthistorisches-museum-vienna-museum-of-fine-arts/artwork/st-sebastian-andrea-mantegna/677761/', NULL, 'http://en.wikipedia.org/wiki/St._Sebastian_of_Vienna_(Mantegna)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (375, 94, 41, '094030', 'Presentation at the Temple', 2, 'http://www.smb-digital.de/eMuseumPlus?service=ExternalInterface&module=collection&objectId=863431&viewType=detailView', '29', 'Creative Commons Attribution-NonCommercial-ShareAlike 3.0', 'The <em>Presentation at the Temple</em> is painting by the Italian Renaissance artist Andrea Mantegna. Dating to c. 1455, it is housed in the Gemäldegalerie, Berlin, Germany. The date of the painting is unknown, but it belongs to the painter\'s youth in Padua. Date ranges from 1453, when Mantegna married Nicolosia Bellini, daughter of painter Giovanni, and 1460 when he left for Mantua. Bellini\'s Presentation at the Temple, explicitly inspired by Mantegna\'s, dates to around the latter year.', 'The <em>Presentation at the Temple</em> is painting by the Italian Renaissance artist Andrea Mantegna. Dating to c. 1455, it is housed in the Gemäldegalerie, Berlin, Germany. The date of the painting is unknown, but it belongs to the painter\'s youth in Padua.', 1455, 69, 86, 'Tempera on canvas', 800, 900, 'http://www.googleartproject.com/collection/gemaldegalerie-staatliche-museen-zu-berlin/artwork/the-presentation-andrea-mantegna/329346/', NULL, 'http://en.wikipedia.org/wiki/Presentation_at_the_Temple_(Mantegna)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (376, 95, 4, '095010', 'Primavera', 2, 'http://www.uffizi.firenze.it/catalogo/', '1890, 8360', 'Public domain', '<em>Primavera</em>, also known as Allegory of Spring, is a tempera panel painting by Italian Renaissance artist Sandro Botticelli. Painted ca. 1482, the painting is described in Culture & Values (2009) as \"[o]ne of the most popular paintings in Western art\". It is also \"one of the most written about, and most controversial paintings in the world.\" While most critics agree that the painting, depicting a group of mythological figures in a garden, is allegorical for the lush growth of Spring, other meanings have also been explored. Among them, the work is sometimes cited as illustrating the ideal of Neoplatonic love. The painting itself carries no title and was first called La Primavera by the art historian Giorgio Vasari who saw it at Villa Castello, just outside Florence, in 1550.', '<em>Primavera</em>, also known as Allegory of Spring, is a tempera panel painting by Italian Renaissance artist Sandro Botticelli. Painted ca. 1482, the painting is described in Culture & Values (2009) as \"[o]ne of the most popular paintings in Western art\". It is also \"one of the most written about, and most controversial paintings in the world.\"', 1482, 202, 314, 'Tempera on panel', 900, 1100, 'http://www.googleartproject.com/collection/uffizi-gallery/artwork/la-primavera-spring-botticelli-filipepi/331460/', 'Commissioned by Lorenzo and Giovanni di Pierfrancesco de\' Medici, cousins of Lorenzo il Magnifico, in 1498 this painting was in their florentine residence. Probably based on a theme suggested by Poliziano, it depicts a symbolic and allegorical subject with a complex interpretation: the Realm of Venus. Zephyr chases the nymph Chloris, who turns into the goddess Flora at right. Venus is underneath a blindfolded Cupid in flight with the three Graces and Mercury at left.', 'http://en.wikipedia.org/wiki/Primavera_(Painting)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (377, 95, 4, '095020', 'The Birth of Venus', 2, 'http://www.uffizi.firenze.it/catalogo/', '1890, 878', 'Public domain', 'The <em>Birth of Venus</em> is a 1486 painting by Sandro Botticelli. Botticelli was commissioned to paint the work by the Medici family of Florence, specifically Lorenzo di Pierfrancesco de\' Medici under the influence of his cousin Lorenzo de\' Medici, close friend to Botticelli . It depicts the goddess Venus, having emerged from the sea as a fully grown woman, arriving at the sea-shore (which is related to the Venus Anadyomene motif).The painting is on display at the Uffizi Gallery in Florence, Italy.', 'The <em>Birth of Venus</em> is a 1486 painting by Sandro Botticelli. Botticelli was commissioned to paint the work by the Medici family of Florence, specifically Lorenzo di Pierfrancesco de\' Medici under the influence of his cousin Lorenzo de\' Medici, close friend to Botticelli . It depicts the goddess Venus, having emerged from the sea as a fully grown woman, arriving at the sea-shore (which is related to the Venus Anadyomene motif).The painting is on display at the Uffizi Gallery in Florence, Italy.', 1486, 172, 278, 'Tempera on canvas', 1200, 1100, 'http://www.googleartproject.com/collection/uffizi-gallery/artwork/the-birth-of-venus-botticelli-sandro-botticelli/331474/', 'The painting was commissioned by Lorenzo di Pierfrancesco de’Medici, a cousin of Lorenzo the Magnificent. The theme was probably suggested by the humanist Poliziano. It depicts Venus born from the sea foam, blown by the west wind, Zephyr, and the nymph, Chloris, towards one of the Horai, who prepares to dress her with a flowered mantle.', 'http://en.wikipedia.org/wiki/The_Birth_of_Venus_(Botticelli)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (378, 95, 5, '095030', 'Venus and Mars', 4, 'https://www.nationalgallery.org.uk/paintings/sandro-botticelli-venus-and-mars', 'NG915', 'Creative Commons BY-NC-ND 4.0', '<em>Venus and Mars</em> is a c. 1483 painting by the Italian Renaissance master Sandro Botticelli. It shows the Roman gods Venus and Mars in an allegory of Beauty and Valour. Venus watches Mars sleep while two infant satyrs play carrying his armour as another rests under his arm. A fourth blows a small conch shell in his ear in an effort to wake him. The scene is set in a forest, and the background shows, in the distance, the sea from which Venus emerged. A swarm of wasps hover around Mars\' head, possibly as a symbol that love is often accompanied by pain. Another possible explanation is that the wasps represent the Vespucci family that may have commissioned the painting; the symbol of the Vespucci house is the wasp. The painting is thought originally to have been the back of a lettuccio, a wooden sofa.', '<em>Venus and Mars</em> is a c. 1483 painting by the Italian Renaissance master Sandro Botticelli. It shows the Roman gods Venus and Mars in an allegory of Beauty and Valour. Venus watches Mars sleep while two infant satyrs play carrying his armour as another rests under his arm. A fourth blows a small conch shell in his ear in an effort to wake him.', 1483, 69, 173, 'Tempera on panel', 900, 1000, NULL, NULL, 'http://en.wikipedia.org/wiki/Venus_and_Mars_(Botticelli)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (379, 95, 5, '095040', 'The Mystical Nativity', 1, 'https://www.nationalgallery.org.uk/paintings/sandro-botticelli-mystic-nativity', 'NG1034', 'Creative Commons BY-NC-ND 4.0', 'The <em>Mystical Nativity</em> is a painting of circa 1500–1501 by the Italian Renaissance master Sandro Botticelli, in the National Gallery in London. Botticelli built up the image using oil paint on canvas. It is his only signed work, and has a very unusual iconography for a Nativity. It has been suggested that the painting may be connected with the influence of Savonarola, whose influence appears in a number of late paintings by Botticelli, though the contents of the image may have been specified by the person commissioning it.', 'The <em>Mystical Nativity</em> is a painting of circa 1500–1501 by the Italian Renaissance master Sandro Botticelli, in the National Gallery in London. Botticelli built up the image using oil paint on canvas. It is his only signed work, and has a very unusual iconography for a Nativity.', 1500, 108, 75, 'Tempera on canvas', 1000, 1075, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Mystical_Nativity');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (380, 95, 4, '095050', 'Adoration of the Magi', 2, 'http://www.uffizi.firenze.it/catalogo/', '1890, 882', 'Public domain', 'The <em>Adoration of the Magi</em> is a painting by the Italian Renaissance master Sandro Botticelli, dating from 1475 or 1476. It is housed in the Uffizi of Florence. Botticelli was commissioned to paint at least seven versions of The Adoration of the Magi. The Adoration of the Magi theme was popular in the Renaissance Florence. The work was commissioned by Gaspare di Zanobi del Lama, a banker of humble origins and dubious morality connected to the House of Medici, for his chapel in the church of Santa Maria Novella (now destroyed). In the scene are present numerous characters among which are several members of the Medici family: Cosimo de\' Medici (the Magus kneeling in front of the Virgin, described by Vasari as \"the finest of all that are now extant for its life and vigour\"), his sons Piero (the second Magus kneeling in the centre with the red mantle) and Giovanni (the third Magus), and his grandsons Giuliano and Lorenzo. The three Medici portrayed as Magi were all dead at the time the picture was painted, and Florence was effectively ruled by Lorenzo.', 'The <em>Adoration of the Magi</em> is a painting by the Italian Renaissance master Sandro Botticelli, dating from 1475 or 1476. It is housed in the Uffizi of Florence. Botticelli was commissioned to paint at least seven versions of The Adoration of the Magi.', 1475, 111, 134, 'Tempera on panel', 800, 600, 'http://www.googleartproject.com/collection/uffizi-gallery/artwork/adoration-of-the-magi-botticelli-filipepi/324472/', 'Commissioned by merchant broker of the Money Changing Guild, Guasparre di Zanobi del Lama for his chapel in Santa Maria Novella in Florence, this small panel depicts Cosimo the Elder and his sons Giovanni and Piero as the Magi, with Lorenzo il Magnifico and his brother Giuliano looking on. Facing the observer, we recognize the artist in a yellow cloak and the patron in a blue robe wearing white gloves.', 'http://en.wikipedia.org/wiki/Adoration_of_the_Magi_of_1475_(Botticelli)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (381, 96, 38, '096010', 'Delivery of the Keys', 2, 'http://mv.vatican.va/3_EN/pages/x-Schede/CSNs/CSNs_N_StCristo_05.html', NULL, NULL, 'The <em>Delivery of the Keys</em>, or Christ Giving the Keys to St. Peter is a fresco by the Italian Renaissance painter Pietro Perugino, executed in 1481-1482 and located in the Sistine Chapel, Rome. The scene, part of the series of the Stories of Jesus on the chapel\'s northern wall, is a reference to Matthew 16 in which the \"keys of the kingdom of heaven\" are given to St.Peter. These keys represent the power to forgive and to share the word of God thereby giving them the power to allow others into heaven.', 'The <em>Delivery of the Keys</em>, or Christ Giving the Keys to St. Peter is a fresco by the Italian Renaissance painter Pietro Perugino, executed in 1481-1482 and located in the Sistine Chapel, Rome.', 1481, 330, 550, 'Fresco', 900, 1100, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Delivery_of_the_Keys_(Perugino)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (383, 96, 4, '096030', 'Portrait of Francesco delle Opere', 1, 'http://www.uffizi.firenze.it/catalogo/', '1890, 1700', 'Public domain', 'The <em>Portrait of Francesco delle Opere</em> is a painting by the Italian Renaissance artist Perugino, dating to 1494 and housed in the Uffizi Gallery, Florence. Francesco delle Opere is portrayed from three-quarters, with a black beret and a mantle of the same color, a red blouse under which is a white shirt. His hand holds a cartouche with the words Timete Devm (\"Beware of God\"), the beginning of a famous preaching by Girolamo Savonarola. The hands lie on an invisible parapet which coincides with the painting\'s lower border, as in Flemish contemporary works such as Hans Memling\'s Man with a Letter.', 'The <em>Portrait of Francesco delle Opere</em> is a painting by the Italian Renaissance artist Perugino, dating to 1494 and housed in the Uffizi Gallery, Florence. Francesco delle Opere is portrayed from three-quarters, with a black beret and a mantle of the same color.', 1494, 52, 44, 'Oil on panel', 400, 500, 'http://www.googleartproject.com/collection/uffizi-gallery/artwork/portrait-of-francesco-delle-opere-perugino-vannucci/324475/', 'The painting, signed and dated on the back, portrays Francesco delle Opere (who died in Venice in 1496), brother of Giovanni delle Corniole, famous master carver of precious stones and friend of Perugino. The meticulousness of the details of the portrait set against a gentle landscape is reminiscent of Flemish prototypes. The inscription TIMETE DEUM on the scroll is a recurrent warning in Savonarola\'s sermons. From the collection of Cardinal Leopoldo de\' Medici (1617- 1675) it has been in the Uffizi since 1833.', 'http://en.wikipedia.org/wiki/Portrait_of_Francesco_delle_Opere');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (384, 97, 5, '097010', 'Virgin of the Rocks', 1, 'https://www.nationalgallery.org.uk/paintings/leonardo-da-vinci-the-virgin-of-the-rocks', 'NG1093', 'Creative Commons BY-NC-ND 4.0', 'The <em>Virgin of the Rocks</em> (sometimes the Madonna of the Rocks) is the name used for two paintings by Leonardo da Vinci, of the same subject, and of a composition which is identical except for several significant details. The version generally considered the prime version, that is the earlier of the two, hangs in the Musée du Louvre in Paris and the other in the National Gallery, London. The paintings are both nearly 2 metres (over 6 feet) high and are painted in oils. Both were painted on wooden panel; that in the Louvre has been transferred to canvas. Both paintings show the Madonna and Christ Child with the infant John the Baptist and an angel, in a rocky setting which gives the paintings their usual name. The significant compositional differences are in the gaze and right hand of the angel. There are many minor ways in which the works differ, including the colours, the lighting, the flora, and the way in which sfumato has been used. Although the date of an associated commission is documented, the complete histories of the two paintings are unknown, and lead to speculation about which of the two is earlier.', 'The <em>Virgin of the Rocks</em> (sometimes the Madonna of the Rocks) is the name used for two paintings by Leonardo da Vinci, of the same subject, and of a composition which is identical except for several significant details.', 1505, 190, 120, 'Oil on panel', 600, 670, NULL, NULL, 'http://en.wikipedia.org/wiki/Virgin_of_the_Rocks');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (386, 97, 4, '097020', 'Annunciation', 4, 'http://www.uffizi.firenze.it/catalogo/', '1890, 1618', 'Public domain', 'This is a painting of the traditional subject of the <em>Annunciation</em>, by the Italian Renaissance artists Leonardo da Vinci and Andrea del Verrocchio, dating from circa 1472–1475[1] and housed in the Uffizi Gallery of Florence, Italy. The angel holds a Madonna lily, a symbol of Mary\'s virginity and of the city of Florence. It is supposed that Leonardo originally copied the wings from those of a bird in flight, but they have since been lengthened by a later artist.', 'This is a painting of the traditional subject of the <em>Annunciation</em>, by the Italian Renaissance artists Leonardo da Vinci and Andrea del Verrocchio, dating from circa 1472–1475[1] and housed in the Uffizi Gallery of Florence, Italy. The angel holds a Madonna lily, a symbol of Mary\'s virginity and of the city of Florence. It is supposed that Leonardo originally copied the wings from those of a bird in flight, but they have since been lengthened by a later artist.', 1472, 98, 217, 'Oil and tempera on panel', 550, 620, 'http://www.googleartproject.com/collection/uffizi-gallery/artwork/annunciation-leonardo-da-vinci/324474/', 'The original location and commissioning of this work are unknown. It was painted at about the time Leonardo was still at Verroccchio\'s workshop (1472, ca.) It came to the Uffizi in 1867 from the sacristy of San Bartolomeo a Monteoliveto outside the gate of San Frediano. One can already see the careful attention to the atmospheric changes in the landscape which will be further developed by the artist in later work. The work is meant to be seen from below and from the right. From this point of view certain details come into proper alignment such as the keystones on the building, the foreshortening of the Virgin\'s arm and the lectern.', 'http://en.wikipedia.org/wiki/Annunciation_(Leonardo)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (387, 97, 7, '097030', 'Ginevra de\' Benci', 3, 'http://www.nga.gov/content/ngaweb/Collection/art-object-page.50724.html', '1967.6.1.a', 'Open Access', 'Ginevra de’ Benci was an aristocrat from 15th-century Florence, admired for her intelligence by Florentine contemporaries. She is the subject of a portrait painting by Leonardo da Vinci. The oil-on-wood portrait was acquired by the National Gallery of Art in Washington, D.C., in 1967, for US$5 million paid to the Princely House of Liechtenstein, a record price at the time, from the Ailsa Mellon Bruce Fund. It is the only painting by Leonardo on public view in the Americas.', 'Ginevra de’ Benci was an aristocrat from 15th-century Florence, admired for her intelligence by Florentine contemporaries. She is the subject of a portrait painting by Leonardo da Vinci. The oil-on-wood portrait was acquired by the National Gallery of Art in Washington, D.C., in 1967, for US$5 million paid to the Princely House of Liechtenstein, a record price at the time, from the Ailsa Mellon Bruce Fund. It is the only painting by Leonardo on public view in the Americas.', 1474, 38, 37, 'Oil on panel', 650, 900, 'http://www.googleartproject.com/collection/national-gallery-of-art-washington-dc/artwork/ginevra-de-benci-leonardo-da-vinci/714778/', NULL, 'http://en.wikipedia.org/wiki/Ginevra_de%27_Benci');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (388, 97, 16, '097040', 'The Virgin and Child with St. Anne', 1, 'http://www.louvre.fr/en/oeuvre-notices/virgin-and-child-saint-anne', 'INV. 776', '&copy; Musée du Louvre', '<em>The Virgin and Child with Saint Anne</em> is an oil painting by Leonardo da Vinci depicting St. Anne, her daughter the Virgin Mary and the infant Jesus. Christ is shown grappling with a sacrificial lamb symbolizing his Passion as the Virgin tries to restrain him. The painting was commissioned as the high altarpiece for the Church of Santissima Annunziata in Florence and its theme had long preoccupied Leonardo.', '<em>The Virgin and Child with Saint Anne</em> is an oil painting by Leonardo da Vinci depicting St. Anne, her daughter the Virgin Mary and the infant Jesus. Christ is shown grappling with a sacrificial lamb symbolizing his Passion as the Virgin tries to restrain him. The painting was commissioned as the high altarpiece for the Church of Santissima Annunziata in Florence and its theme had long preoccupied Leonardo.', 1508, 168, 112, 'Oil on wood', 500, 550, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Virgin_and_Child_with_St._Anne_(Leonardo_da_Vinci)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (389, 97, 16, '097050', 'Mona Lisa', 1, 'http://www.louvre.fr/en/oeuvre-notices/mona-lisa-portrait-lisa-gherardini-wife-francesco-del-giocondo', 'INV. 779', '&copy; Musée du Louvre', 'The <em>Mona Lisa</em> (or <em>La Gioconda</em>) is a half-length portrait of a woman by the Italian artist Leonardo da Vinci, which has been acclaimed as \"the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.\" The painting, thought to be a portrait of Lisa Gherardini, the wife of Francesco del Giocondo, is in oil on a poplar panel, and is believed to have been painted between 1503 and 1506. It was acquired by King Francis I of France and is now the property of the French Republic, on permanent display at the Musée du Louvre in Paris since 1797. The ambiguity of the subject\'s expression, which is frequently described as enigmatic, the monumentality of the composition, the subtle modeling of forms and the atmospheric illusionism were novel qualities that have contributed to the continuing fascination and study of the work.', 'The <em>Mona Lisa</em> (or <em>La Gioconda</em>) is a half-length portrait of a woman by the Italian artist Leonardo da Vinci, which has been acclaimed as \"the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.\"', 1503, 77, 53, 'Oil on wood', 400, 450, NULL, NULL, 'http://en.wikipedia.org/wiki/Mona_Lisa');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (391, 98, 4, '098010', 'Doni Tondo', 3, 'http://www.uffizi.firenze.it/catalogo/', '1890, 1456', 'Public domain', 'The <em>Doni Tondo</em>, sometimes called The Holy Family, is the only finished panel painting by the mature Michelangelo to survive. Now in the Uffizi in Florence, Italy, and still in its original frame, the painting was probably commissioned by Agnolo Doni to commemorate his marriage to Maddalena Strozzi, the daughter of a powerful Tuscan family. The painting is in the form of a tondo, or round frame, which is frequently associated during the Renaissance with domestic ideas. The work was most likely created during the period after the Doni\'s marriage in 1503 or 1504, as well as after the excavation of the Laocoön about 1506, yet before the Sistine Chapel ceiling frescoes were begun in 1508, dating the painting to approximately late 1506 or 1507. The Doni Tondo features the Christian Holy family (the child Jesus, Mary, and Saint Joseph) along with John the Baptist in the foreground and contains five ambiguous nude male figures in the background. The inclusion of these nude figures has been interpreted in a variety of ways.', 'The <em>Doni Tondo</em>, sometimes called The Holy Family, is the only finished panel painting by the mature Michelangelo to survive. Now in the Uffizi in Florence, Italy, and still in its original frame, the painting was probably commissioned by Agnolo Doni to commemorate his marriage to Maddalena Strozzi, the daughter of a powerful Tuscan family. The painting is in the form of a tondo, or round frame, which is frequently associated during the Renaissance with domestic ideas.', 1507, 120, 120, 'Oil and tempera on panel', 600, 700, 'http://www.googleartproject.com/collection/uffizi-gallery/artwork/doni-tondo-michelangelo-buonarroti/324477/', 'The Doni Tondo is the most famous among the very few paintings on panel by Michelangelo, made on commission from the Florentine merchant Agnolo Doni for his wedding to Maddalena Strozzi in 1504. Originally it hung in the bedchamber of their home on Corso dei Tintori in Florence. The foreground is occupied by the highly modeled figures of the holy Family; the three figures together form a compact group in which the baby Jesus stands out against the intertwining arms of the Virgin and Joseph.', 'http://en.wikipedia.org/wiki/Doni_Tondo');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (392, 98, 38, '098020', 'The Creation of Adam', 4, 'http://mv.vatican.va/3_EN/pages/x-Schede/CSNs/CSNs_V_StCentr_06.html', NULL, NULL, '<em>The Creation of Adam</em> is arguably the most famous section of Michelangelo\'s fresco Sistine Chapel ceiling painted circa 1511–1512. It is traditionally thought to illustrate the Biblical creation narrative from the Book of Genesis in which God breathes life into Adam, the first man. Chronologically the fourth in the series of panels depicting episodes from Genesis on the Sistine ceiling, it was among the last to be completed. It is the most well-known of the Sistine Chapel fresco panels, and its fame as a piece of art is rivaled only by the Mona Lisa by Leonardo da Vinci. The image of the near-touching hands of God and Adam has become one of the single most iconic images of humanity and has been reproduced in countless imitations and parodies. Along with Leonardo da Vinci\'s The Last Supper, The Creation of Adam and the other Sistine Chapel panels are the most replicated religious paintings of all time.', '<em>The Creation of Adam</em> is arguably the most famous section of Michelangelo\'s fresco Sistine Chapel ceiling painted circa 1511–1512. It is traditionally thought to illustrate the Biblical creation narrative from the Book of Genesis in which God breathes life into Adam, the first man. Chronologically the fourth in the series of panels depicting episodes from Genesis on the Sistine ceiling, it was among the last to be completed.', 1512, 480, 230, 'Fresco', 1200, 1400, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Creation_of_Adam');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (393, 98, 38, '098030', 'Libyan Sibyl', 3, 'http://mv.vatican.va/3_EN/pages/x-Schede/CSNs/CSNs_V_SibProf_08.html', NULL, NULL, 'On the five pendentives along each side of the ceiling of the Sistine Chapel and the two at either end, Michelangelo painted the largest figures on the ceiling: twelve people who prophesied or represented some aspect of the Coming of Christ. Of those twelve, seven were Prophets of Israel and were male. The remaining five were prophets of the Classical World, called Sibyls and were female. The <em>Libyan Sibyl</em>, named Phemonoe, was the prophetic priestess presiding over the Zeus Ammon Oracle (Zeus represented with the horns of Ammon) at Siwa Oasis in the Libyan Desert.', 'On the five pendentives along each side of the ceiling of the Sistine Chapel and the two at either end, Michelangelo painted the largest figures on the ceiling: twelve people who prophesied or represented some aspect of the Coming of Christ.', 1510, 395, 380, 'Fresco', 1000, 1100, NULL, NULL, 'http://en.wikipedia.org/wiki/Libyan_Sibyl');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (394, 99, 18, '099010', 'Madonna in the Meadow', 1, 'https://www.khm.at/de/object/77f959f119/', '175', 'Only for private use', 'The <em>Madonna of the Meadow</em> is also known as Madonna del prato. In it, the three figures in a calm green meadow are linked by looks and touching hands. The Virgin Mary is shown in a contrapposto pose, wearing a gold-bordered blue mantle set against a red dress and with her right leg lying along a diagonal. The blue symbolizes the church and the red Christ\'s death, with the Madonna the uniting of Mother Church with Christ\'s sacrifice. With her eyes fixed on Christ, her head is turned to the left and slightly inclined, and in her hands she holds up Christ, as he leans forward unsteadily to touch the miniature cross held by John. The poppy refers to Christ\'s passion, death and resurrection.', 'The <em>Madonna of the Meadow</em> is also known as Madonna del prato. In it, the three figures in a calm green meadow are linked by looks and touching hands. The Virgin Mary is shown in a contrapposto pose, wearing a gold-bordered blue mantle set against a red dress and with her right leg lying along a diagonal.', 1505, 113, 88, 'Oil on wood', 400, 450, 'http://www.googleartproject.com/collection/kunsthistorisches-museum-vienna-museum-of-fine-arts/artwork/madonna-in-the-meadow-raphael/676851/', 'In 1504 the young Raphael came from Perugia to Florence, where Leonardo da Vinci and Michelangelo dominated artistic life. Especially under the influence of Leonardo’s compositions, the newcomer created a series of Madonna depictions. Particularly in Florence, the Madonna image had experienced a change in function: it was no longer mainly a religious item for practical use, but primarily an exquisite expression of artistic achievement. Raphael gave the Madonna in the Meadow to his Florentine patron Taddeo Taddi as a gift; in 1662 it was acquired at its place of origin by Archduke Ferdinand Karl of Tirol. In keeping with the Sienese type of the Madonna Humilitatis the Virgin Maryis sitting on an elevation on the ground. Supporting the infant Jesus with both hands, she looks at little John the Baptist. The encounter of the two children has been mentioned in Tuscan devotional literature since the late 13th century. The cross is simultaneously a toy, an attribute of John the Baptist and a Passion symbol. The latter is also true of the conspicuously positioned poppy on the right. In the present painting, which was created at the beginning of his series of full-length Madonna depictions, Raphael decided on a strictly geometrical structure: the group is incorporated in an equilateral triangle. However, within the seemingly rigid structure, a lively scene unfolds. Parallel and opposing movements and glances blend with the landscape in the background to create a composition that is in keeping with the demands of the High Renaissance for perfect balance and harmony', 'http://en.wikipedia.org/wiki/Madonna_of_the_meadow_(Raphael)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (531, 103, 24, '103020', 'Portrait of Elizabeth and Philadelphia Wharton', 1, 'https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+Paintings/48240/?lng=en', '533', 'Personal non-commercial use', 'Few artists have truly successfully depicted children, but Anthony van Dyck in this portrait of the daughters of Philip, 4th Lord Wharton, produced a genuinely appealing image. It was painted during the late, English period of the artist\'s career, and is executed well within the traditions of Western European official portraiture. The girls are shown posing statically against a very roughly indicated, generalised background, with just a hint of a decorative landscape. Dressed and coiffed a la mode, they look like true grown up ladies, the eldest holding herself importantly and with a sense of her own importance, just like a lady at court. The youngest gently holds her sister by the shoulder, frozen in the pose in which she has been stood by the artist. The official majesty of the formal portrait is softened by the little dog, surprised by his mistresses\' immobility, who scratches wonderingly at the eldest girl\'s dress with one paw. With its elegant colour scheme, dominated by cold pearly-grey and silver-blue, and the virtuoso skill in conveying the texture of fabrics and jewellery, van Dyck\'s painting yet manages to be a very gentle and informal image of two charming girls.', 'Anthony van Dyck in this portrait of the daughters of Philip, 4th Lord Wharton, produced a genuinely appealing image.', 1640, 130, 162, 'Oil on canvas', 700, 900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (532, 103, 24, '103030', 'Portrait of Henry Danvers, Earl of Danby', 1, 'https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+Paintings/48262/?lng=en', '545', 'Personal non-commercial use', 'From 1632 to 1641 van Dyck worked at the court of the English King Charles I, where he produced a marvellous serious of portraits of the English aristocracy, of which this is perhaps one of the most outstanding. Henry Danvers, Earl of Danby (1573-1644), was a member of the Privy Council, Keeper of the Royal Seal and founder of the first botanical garden in England, at Oxford. He was also a renowned military commander, having fought in Ireland, the Southern Netherlands and France. Here, the Earl is seen wearing the attire of a Knight of the Order of the Garter, to which he was elevated in 1633. By his left temple is a black patch, which must cover a scar. The energetic, wilful gesture of the right hand is evidence of his decisiveness, whilst the left hand resting on the sword indicates his watchfulness, necessary to one of the King\'s inner circle. The elegant pose, the rich picturesqueness of the costume and the luxurious setting give the portrait a very official feel. Combining a true likeness of the sitter with a convincing impression of his character, this painting is also an important historical document.', 'From 1632 to 1641 van Dyck worked at the court of the English King Charles I, where he produced a marvellous serious of portraits of the English aristocracy, of which this is perhaps one of the most outstanding.', 1638, 130, 223, 'Oil on canvas', 700, 900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (533, 103, 27, '103040', 'Portrait of Agostino Pallavicini', 1, 'http://www.getty.edu/art/collection/objects/524/anthony-van-dyck-portrait-of-agostino-pallavicini-flemish-about-1621/', '68.PA.2', 'Public domain', 'Agostino Pallavicini, a member of the Genoese branch of the Pallavicini family and the future doge of Genoa, sits enveloped by the sumptuous, flowing red robes worn in his role as ambassador to the Pope. The wide expanse of fabric, spectacularly rendered, seems to have a life of its own and almost threatens to take over the painting. The luxurious swirl of cloth, its brilliant sheen, and the way it glimmers and reflects light display Anthony van Dyck\'s virtuosity as a painter. The family coat of arms seen on the drapery behind the sitter at the left, along with other documented portraits, firmly establishes Pallavicini\'s identity.', 'Agostino Pallavicini, a member of the Genoese branch of the Pallavicini family and the future doge of Genoa, sits enveloped by the sumptuous, flowing red robes worn in his role as ambassador to the Pope.', 1621, 141, 216, 'Oil on canvas', 900, 1000, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (534, 18, 24, '018100', 'Sacred Spring: Sweet Dreams', 2, 'https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+Paintings/28178/?lng=en', '6510', 'Personal non-commercial use', 'Gauguin returned from his first stay in Tahiti (1891-1893) to spend nearly two years in Paris, where he painted this work. The exotic world of Oceania had captured the artist\'s imagination with its harmony of man and nature, with what he saw as the preservation of primitive simplicity. This work captures his recollections of Tahiti and his romantic dreams of the harmony of all on earth. The Tahitian girls symbolise different stages in life. The young islander with the halo above her head, deep in sleep, is the embodiment of virgin purity, while the second girl with the fruit in her hand, ready to take a bite, is like Eve. In the depths of the landscape islanders are dancing around an idol, some mysterious ancient god. The canvas reveals the artist\'s very individual style with its pure colours applied in generalised flat areas which, like the lines, are subjugated to a single rhythm.', 'Gauguin returned from his first stay in Tahiti (1891-1893) to spend nearly two years in Paris, where he painted this work.', 1894, 100, 74, 'Oil on canvas', 700, 900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (535, 17, 24, '017090', 'Haystack at Giverny', 2, 'https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+Paintings/28486/?lng=en', '6563', 'Personal non-commercial use', 'Most of the second half of Monet\'s life was spent in and around Giverny, where the leader of the Impressionists was particularly drawn by the landscape of central France. He captured views of Giverny in numerous canvases. A year before he painted this work in 1886, Monet had already shown a field of poppies (\"Poppy Field\", 1885; Paul Mellon Collection, USA), but without the haystack. The Hermitage work is one of the first of his paintings to show the haystack, which was to be the subject of whole series of works. Monet in virtuoso style captures the fine nuances of effects of light and air, picking the very moment at which the weather is changing and the horizon brightening on an overcast, windy day. The Impressionists painted such overcast weather with bright, light colours, which enabled them to capture the translucent sky and bring out the endlessly rich nuances of colour.', 'The Hermitage work is one of the first of his paintings to show the haystack, which was to be the subject of whole series of works.', 1886, 81, 60, 'Oil on canvas', 700, 900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (536, 117, 2, '117020', 'The Creation', 5, 'https://www.museodelprado.es/coleccion/obra-de-arte/la-creacion/b5cb7209-0009-4b8f-ab20-d6db0617a9fa', 'P02053', 'Private, personal, academic, research or educational', NULL, NULL, 1495, 77, 188, 'Oil on canvas', 700, 900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (537, 117, 2, '117030', 'Visio Tondalii', 1, 'https://www.museodelprado.es/coleccion/obra-de-arte/fantasia-moral-visio-tondali/ed19fa42-83e3-443b-96b1-04261634bb14', 'P02054', 'Private, personal, academic, research or educational', NULL, NULL, 1495, 24, 29, 'Oil on canvas', 700, 900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (538, 104, 2, '104040', 'The Crucified Christ', 1, 'https://www.museodelprado.es/en/the-collection/art-work/the-crucified-christ/72cbb57e-f622-4531-9b25-27ff0a9559d7', 'P01167', 'Private, personal, academic, research or educational', 'Stylistically, this work appears to have been made in the early 1630s -soon after the artist returned from Italy- and most authors date it from around 1632. The Apollonian perfection of the anatomy and the figure`s pale complexion recall the neo-Attic character of Guido Reni`s work, but it must have been Velázquez`s intention to imbue the figure with a divine and ineffable beauty, reflecting the belief that Christ was the most beautiful of men.', 'The Apollonian perfection of the anatomy and the figure`s pale complexion recall the neo-Attic character of Guido Reni`s work, but it must have been Velázquez`s intention to imbue the figure with a divine and ineffable beauty, reflecting the belief that Christ was the most beautiful of men.', 1632, 169, 248, 'Oil on canvas', 1400, 1800, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (539, 8, 2, '008020', 'The Parasol', 2, 'https://www.museodelprado.es/en/the-collection/art-work/the-parasol/a230a80f-a899-4535-9e90-ad883bd096c5', 'P00773', 'Private, personal, academic, research or educational', 'This tapestry cartoon depicts a young woman. She is sitting, with a dog on her lap, and is accompanied by a Majo who protects her from the sun with a parasol. This work\'s format and bottom-to-top perspective indicates that it was intended to hang over a window. It\'s pyramidal composition, with the figures in the foreground, reflects the influence of classical Italian painting on Goya, as well as his mastery at painting light and shadows. The resultant tapestry was intended to hang in the dining room of the Prince and Princess of Asturias (the future Carlos IV and his wife Maria Luisa de Parma) at the Monastery of El Escorial.', 'This tapestry cartoon depicts a young woman. She is sitting, with a dog on her lap, and is accompanied by a Majo who protects her from the sun with a parasol.', 1777, 152, 104, 'Oil on canvas', 700, 900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (540, 116, 2, '116030', 'Self-Portrait', 1, 'https://www.museodelprado.es/en/the-collection/art-work/self-portrait/8417d190-eb9d-4c52-9c89-dcdcd0109b5b', 'P02179', 'Private, personal, academic, research or educational', 'In the same year that he published the Apocalipsis cum figuris, Dürer painted himself as a gentleman, dressed in light toned clothes and looking his best. He wears an open black and white doublet with a striped cap in the same colours, an undershirt trimmed with gold and a silk cord of blue and white threads holding up a grey-brown cloak that falls over his right shoulder. Dürer has sheathed the hands that he uses to paint in grey kidskin gloves indicative of high rank with the aim of elevating his social status from that of craftsman to artist and of locating painting among the liberal arts, as in Italy.', 'In the same year that he published the Apocalipsis cum figuris, Dürer painted himself as a gentleman, dressed in light toned clothes and looking his best.', 1498, 41, 52, 'Oil on panel', 700, 900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (541, 134, 2, '134010', 'The Descent from the Cross', 2, 'https://www.museodelprado.es/en/the-collection/art-work/the-descent-from-the-cross/856d822a-dd22-4425-bebd-920a1d416aa7', 'P02825', 'Private, personal, academic, research or educational', 'The Deposition was painted for the chapel of Our Lady outside the walls of Louvain, which was founded in the fourteenth century by the guild of bowmen, sold in 1798 and demolished shortly thereafter. The occupation of the founders is indicated by the two small crossbows hanging on the tracery of the two major corners of the table.', 'The Descent from the Cross was painted for the Chapel of Our Lady Outside the Walls at Leuven', 1443, 261, 204, 'Oil on panel', 2700, 3900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (542, 134, 27, '134020', 'Portrait of Isabella of Portugal', 1, 'http://www.getty.edu/art/collection/objects/651/workshop-of-rogier-van-der-weyden-portrait-of-isabella-of-portugal-netherlandish-about-1450/', '78.PB.3', 'Public domain', 'Seated with her hands crossed in her lap, Isabella of Portugal, the duchess of Burgundy, conveys the poise and confidence of her noble position. Her sumptuous attire, heavily woven with gold thread, and her jeweled fingers and headdress reflect her aristocratic status. Oddly, the artist did not match the patterns of the sleeves, as would have been customary during this period.', 'Seated with her hands crossed in her lap, Isabella of Portugal, the duchess of Burgundy, conveys the poise and confidence of her noble position.', 1450, 37, 46, 'Oil on canvas', 700, 900, 'https://www.google.com/culturalinstitute/beta/asset/portrait-of-isabella-of-portugal/dQFnG1h6Jg1hYg?hl=en', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (543, 134, 24, '134030', 'St Luke Drawing the Virgin', 3, 'https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+Paintings/38861/?lng=en', '419', 'Personal non-commercial use', 'The subject is taken from a 6th-century legend of Greek origin, according to which St Luke was the first ever to draw a portrait of the Virgin Mary. Artists saw Luke as the patron of their art. Rogier van der Weyden set the action in an open loggia. To the left, at the foot of a throne, sits the Virgin, feeding the Christ Child. The throne, hinting at her future status as the Queen of Heaven, is decorated with sculptural figures of Adam and Eve, indicating that Christ and the Virgin will atone for their Original Sin. Opposite the Madonna, St Luke has sunk respectfully to his knees as he seeks to capture her appearance. The artist manages to convey both Luke\'s trembling reverence and his concentration on his drawing. Behind St Luke we can just see a bull and a book, both traditional attributes of the Apostle Luke. Two figures contemplating the landscape from the battlements possibly represent Joachim and Anna, the Virgin\'s parents.', 'The subject is taken from a 6th-century legend of Greek origin, according to which St Luke was the first ever to draw a portrait of the Virgin Mary.', 1445, 108, 102, 'Oil on canvas', 900, 1100, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (544, 102, 2, '102020', 'The Three Graces', 1, 'https://www.museodelprado.es/en/the-collection/art-work/the-three-graces/145eadd9-0b54-4b2d-affe-09af370b6932', 'P01670', 'Private, personal, academic, research or educational', 'Rubens depicts the three graces beside a fountain, under a garland of flowers in a landscape. The figures are based on classical sculpture, which is visible in the artist’s effort to reproduce the coldness of marble in their flesh. The circular rhythm and elegant undulation are customary characteristics of this artist, along with the grandiloquent shapes and warm colors he brought into his painting in his final years. The figure on the left is directly inspired by his second wife, Hélène Forment.', 'Rubens depicts the three graces beside a fountain, under a garland of flowers in a landscape. The figures are based on classical sculpture, which is visible in the artist’s effort to reproduce the coldness of marble in their flesh.', 1635, 182, 220, 'Oil on panel', 1600, 1900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (545, 102, 2, '102030', 'The Judgement of Paris', 2, 'https://www.museodelprado.es/en/the-collection/art-work/the-judgement-of-paris/918bc2de-00a9-480d-87ba-96ac25f22bf4', 'P01731', 'Private, personal, academic, research or educational', 'As Homer tells it in The Iliad, Paris the shepherd, son of Priam, had to decide with of the three goddesses —Juno, Venus or Minerva— was the most beautiful, and give her the golden apple Mercury he had received from Mercury. On the left, Paris appears to be meditating, with the apple still in his hands. His attention is focused on Venus, in the middle of the composition. Minerva´s weapons are visible in the foreground. The setting and elegance of this work bear a clear relation to southern painting as a result of the artist´s stay in Italy. The figures are based on classical sculptures and the influence of mannerist painting is visible in the sinuous rhythm of their anatomies. This work was first documented at Madrid´s Alcázar Palace in 1666.', 'Paris the shepherd, son of Priam, had to decide with of the three goddesses —Juno, Venus or Minerva— was the most beautiful, and give her the golden apple Mercury he had received from Mercury.', 1608, 114, 89, 'Oil on panel', 900, 1100, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (546, 118, 18, '118040', 'The Tower of Babel', 2, 'https://www.khm.at/de/object/bc6dc48b74/', '1026', 'Only for private use', 'Bruegel’s monumental composition had several forerunners in Netherlandish painting, but his work became the most famous classic among the Tower of Babel depictions and was frequently copied in many different variations. The sense of scale is provided by the flemish-style port city, which is impressively tiny in comparison to the tower.', 'Bruegel’s monumental composition had several forerunners in Netherlandish painting, but his work became the most famous classic among the Tower of Babel depictions and was frequently copied in many different variations.', 1563, 155, 114, 'Oil on canvas', 900, 1000, 'https://www.google.com/culturalinstitute/beta/asset/the-tower-of-babel/bAGKOdJfvfAhYQ?hl=en', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (547, 118, 18, '118050', 'Children’s Games', 2, 'https://www.khm.at/de/object/caf1a3dfb5/', '1017', 'Only for private use', 'Children – more than 230 in all – are occupied with 83 different games. The whole city seems to be theirs. Bruegel gives the beholder an encyclopaedic view of the children’s games of his time.', 'Children – more than 230 in all – are occupied with 83 different games. The whole city seems to be theirs. Bruegel gives the beholder an encyclopaedic view of the children’s games of his time.', 1560, 161, 118, 'Oil on canvas', 700, 900, 'https://www.google.com/culturalinstitute/beta/asset/children%E2%80%99s-games/CQEeZWQPOI2Yjg?hl=en', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (548, 118, 18, '118060', 'Hunters in the Snow (Winter)', 2, 'https://www.khm.at/de/object/b83aac23b9/', '1838', 'Only for private use', 'On top of the hill a group of hunters accompanied by a pack of dogs is seen, making their way back to the village below. Their catch is poor: a single fox dangling from the spear the hunter on the left carries on his shoulder. To the hunter’s left, Bruegel added a motif that had been used forquire some time in book illumination for depicting the month of December: the preparations for singeing a pig over an open fire outside a building. The damaged sign hanging above them reveals the name of the inn: “dit is inden Hert”, meaning “To the Deer” – a well-aimed passing shot. Entertaining details, such as the people ice-skating on the frozen lakes, have contributed to the painting’s enormous popularity.', 'In the late 16th century, the Antwerp banker Niclaes Jongelinck owned one of the most important painting collections in the Netherlands. He commissioned Bruegel to create a series of six seasonal paintings, the last of which is shown here.', 1565, 162, 117, 'Oil on canvas', 900, 1150, 'https://www.google.com/culturalinstitute/beta/asset/hunters-in-the-snow-winter/WgFmzFNNN74nUg?hl=en', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (549, 134, 18, '134040', 'Triptych: The Crucifixion', 2, 'https://www.khm.at/de/object/5a1e3a5aed/', '901', 'Only for private use', 'Today this Crucifixion scene is spread across a winged altar, but it was probably originally a single panel, with the “frame” only painted on to it. Not long after it was created, however, the work was sawn into three parts, making the portraits of St. Mary Magdalene and St. Veronica wings of a triptych. Given its original condition, it makes van der Weyden’s artistic innovation even more significant: for the first time he unites all of the participants – the Crucifixion group, saints and the donors – in front of a continuous landscape, in which an idealised Jerusalem appears on the horizon. The realism of such a unified space had never been attempted in earlier works. Unknown today, the patrons are separated only by a conspicuous fissure in the ground from the central subject of religious contemplation, a concept that was so progressive that it was initially attenuated in the paintings of the period that followed.', 'Today this Crucifixion scene is spread across a winged altar, but it was probably originally a single panel, with the “frame” only painted on to it.', 1444, 131, 101, 'Oil on panel', 2000, 2400, 'https://www.google.com/culturalinstitute/beta/asset/triptych-the-crucifixion/3gF9kN6BYvNuxw?hl=en', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (550, 115, 18, '115030', 'Cardinal Niccolò Albergati', 1, 'https://www.khm.at/de/object/fccb3cdc9a/', '975', 'Only for private use', 'During a peace congress that was seeking to bring an end to decades of enmity between France and Burgundy, van Eyck painted portraits of some of those in attendance, among them, most likely, Cardinal Niccolò Albergati, who in his position as nuncio was one the most important participants in the negotiations. In Arras, van Eyck created a silverpoint drawing (Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett), which most probably depicts the cardinal. Here the Flemish painter not only captured the physiognomy of the aged cleric but in his notes also specified the coloration', 'Here the Flemish painter not only captured the physiognomy of the aged cleric but in his notes also specified the coloration.', 1435, 34, 29, 'Oil on canvas', 700, 900, 'https://www.google.com/culturalinstitute/beta/asset/kardinal-niccol%C3%B2-albergati/0AEB0A0Fyh6sBw?hl=en', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (551, 116, 18, '116050', 'Portrait of a Young Venetian Woman', 1, 'https://www.khm.at/de/object/f29c21d489/', '6440', 'Only for private use', 'This honest, close-up view of a gentle face is in keeping with Venetian portraits of the time. The sandy hair of the unknown woman is held at the back of the head by a shining golden net, the prevailing fashion in Venice. Dürer has used carefully distributed highlights to emphasise the curly hair falling to either side of the face; it has a formal counterpart in the fine ribbons of her dress. The fact that Dürer left the preparatory underdrawing of the ribbon on the left has led to the assumption that the picture is unfinished, but technical analysis of the entire surface of the painting speaks against it. It makes sense from a compositional point of view: the colour of the one ribbon matches the woman’s hair, while the other picks up the monochrome tone of the background and is also found in the young woman’s dark eyes.', 'This honest, close-up view of a gentle face is in keeping with Venetian portraits of the time.', 1505, 24, 32, 'Oil on wood', 700, 900, 'https://www.google.com/culturalinstitute/beta/asset/portrait-of-a-young-venetian-woman/4QHm8iCbgjn1Og?hl=en', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (342, 2, 37, '002070', 'The Red Madras Headdress', 1, 'http://www.barnesfoundation.org/collections/art-collection/object/6365/red-madras-headdress-le-madras-rouge', 'BF448', '&copy; The Barnes Foundation', '<em>Madras Rouge</em> (<em>The Red Madras Headress</em>) is a painting by Henri Matisse from 1907. The woman depicted is the painter\'s wife, Amélie Noellie Parayre Matisse.', '<em>Madras Rouge</em> (<em>The Red Madras Headress</em>) is a painting by Henri Matisse from 1907. The woman depicted is the painter\'s wife, Amélie Noellie Parayre Matisse.', 1907, 99, 80, 'Oil on canvas', 850, 1000, NULL, NULL, 'http://en.wikipedia.org/wiki/Madras_Rouge');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (343, 2, 24, '002080', 'Dance (II)', 2, 'https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+Paintings/28411/?lng=en', '9673', 'Personal non-commercial use', 'There are two versions of <em>The Dance</em>, the first, painted in March of 1909, is the study for the second one, completed in 1910. The large work, painted along the lines of William Blake’s painting <em>Oberon, Titania and Puck with Fairies Dancing</em>, was painted along with its companion piece, Music, which depicts nudes playing music in a similar setting. The pieces were specially created for Russian businessman and art collector Sergei Shchukin, who was a long-time associate of Matisse’s. This painting is often recognized as a key point in the development of Matisse’s artwork, as well as in the development of modern painting. It is also often associated with “Dance of the Young Girls,” in <em>The Rite of Spring</em> by Igor Stravinsky.', 'There are two versions of <em>The Dance</em>, the first, painted in March of 1909, is the study for the second one, completed in 1910. The large work, painted along the lines of William Blake’s painting <em>Oberon, Titania and Puck with Fairies Dancing</em>, was painted along with its companion piece, Music, which depicts nudes playing music in a similar setting.', 1910, 260, 391, 'Oil on canvas', 1450, 1800, NULL, NULL, 'http://en.wikipedia.org/wiki/Dance_(Matisse)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (346, 5, 6, '005040', 'The Death of Socrates', 2, 'http://www.metmuseum.org/art/collection/search/436105', '31.45', 'Open Access for Scholarly Content', 'The Death of Socrates  is an oil on canvas painted by French painter Jacques-Louis David in 1787. The painting focuses on a classical subject like many of his works from that decade, in this case the story of the execution of Socrates as told by Plato in his Phaedo. In this story, Socrates has been convicted of corrupting the youth of Athens and introducing strange gods, and has been sentenced to die by drinking poison hemlock. Socrates uses his death as a final lesson for his pupils rather than fleeing when the opportunity arises, and faces it calmly. The Phaedo depicts the death of Socrates and is also Plato\'s fourth and last dialogue to detail the philosopher\'s final days, which is also detailed in Euthyphro, Apology, and Crito.', 'The painting focuses on a classical subject like many of his works from that decade, in this case the story of the execution of Socrates as told by Plato in his Phaedo.', 1787, 196, 129, 'Oil on canvas', 1500, 1800, 'https://www.google.com/culturalinstitute/beta/asset/the-death-of-socrates/sAGm14MzWjaN9Q', 'Accused by the Athenian government of denying the gods and corrupting the young through his teachings, Socrates (469–399 B.C.) was offered the choice of renouncing his beliefs or dying by drinking a cup of hemlock. David shows him prepared to die and discoursing on the immortality of the soul with his grief-stricken disciples.', 'https://en.wikipedia.org/wiki/The_Death_of_Socrates');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (347, 5, 22, '005050', 'Napoleon Crossing the Alps', 1, 'http://digital.belvedere.at/objects/7889/napoleon-am-groen-st-bernhard', '2089', 'Private use', '<em>Napoleon Crossing the Alps</em> (also known as <em>Napoleon at the Saint-Bernard Pass</em> or <em>Bonaparte Crossing the Alps</em>) is the title given to the five versions of an oil on canvas equestrian portrait of Napoleon Bonaparte painted by the French artist Jacques-Louis David between 1801 and 1805. Initially commissioned by the king of Spain, the composition shows a strongly idealized view of the real crossing that Napoleon and his army made across the Alps through the Great St. Bernard Pass in May 1800.', '<em>Napoleon Crossing the Alps</em> (also known as <em>Napoleon at the Saint-Bernard Pass</em> or <em>Bonaparte Crossing the Alps</em>) is the title given to the five versions of an oil on canvas equestrian portrait of Napoleon Bonaparte painted by the French artist Jacques-Louis David between 1801 and 1805.', 1800, 261, 221, 'Oil on canvas', 600, 950, 'https://www.google.com/culturalinstitute/beta/asset/bonaparte-crossing-the-grand-saint-bernard-pass-20-may-1800/QwEFHqZhgW6ulw', NULL, 'http://en.wikipedia.org/wiki/Napoleon_at_the_Saint-Bernard_Pass');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (348, 5, 16, '005060', 'The Coronation of Napoleon', 2, 'http://www.louvre.fr/en/oeuvre-notices/consecration-emperor-napoleon-and-coronation-empress-josephine-december-2-1804', 'INV. 3699', '&copy; Musée du Louvre', '<em>The Coronation of Napoleon</em> (French: <em>Le Sacre de Napoléon</em>) is a painting completed in 1807 by Jacques-Louis David, the official painter of Napoleon. The painting has imposing dimensions, as it is almost ten metres wide by approximately six metres tall. The crowning and the coronation took place at Notre-Dame de Paris, a way for Napoleon to make it clear that he was a son of the Revolution.', '<em>The Coronation of Napoleon</em> (French: <em>Le Sacre de Napoléon</em>) is a painting completed in 1807 by Jacques-Louis David, the official painter of Napoleon. The painting has imposing dimensions, as it is almost ten metres wide by approximately six metres tall.', 1805, 621, 979, 'Oil on canvas', 800, 1200, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Coronation_of_Napoleon');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (349, 18, 6, '018090', 'Two Tahitian Women', 1, 'http://www.metmuseum.org/art/collection/search/436446', '49.58.1', 'Open Access for Scholarly Content', 'The painting depicts two topless women, one holding mango blossoms, on the Pacific Island of Tahiti. Currently, the painting is housed at the National Gallery of Art, on loan from the Metropolitan Museum of Art in New York.\r\nAlthough Tahiti is depicted as an innocent paradise, the two women in the painting confront the viewer in a way similar to that in Manet\'s <em>Le déjeuner sur l\'herbe</em> (1863) or <em>Olympia </em>(1863), and follow an artistic tradition of comparing woman\'s breasts to flowers or fruit. The women in the painting also appear in two other works by Gauguin, <em>Faa Iheihe</em> (Tahitian Pastoral) (1898) and <em>Rupe, Rupe</em> (1899).', 'The painting depicts two topless women, one holding mango blossoms, on the Pacific Island of Tahiti. Currently, the painting is housed at the National Gallery of Art, on loan from the Metropolitan Museum of Art in New York.', 1899, 94, 72, 'Oil on canvas', 340, 400, NULL, NULL, 'http://en.wikipedia.org/wiki/Two_Tahitian_Women');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (351, 19, 49, '019110', 'Postman Joseph Roulin', 1, 'http://www.mfa.org/collections/object/postman-joseph-roulin-32542', '35.1982', 'Public domain', 'The Roulin Family is group of portrait paintings Vincent van Gogh executed in Arles in 1888 and 1889 on Joseph, his wife Augustine and their three children: Armand, Camille and Marcelle. This series is unique in many ways. Although Van Gogh loved to paint portraits, it was difficult for financial and other reasons for him to find models. So, finding an entire family that agreed to sit for paintings, in fact for several sittings each was a bounty.\r\nJoseph Roulin became a particularly good, loyal and supporting friend to Van Gogh during his stay in Arles. To represent a man he truly admired was important to him. The family, with children ranging in age from four months to seventeen years, also gave him the opportunity to produces works of individuals in several different stages of life.\r\nRather than making photographic-like works, Van Gogh used his imagination, colors and themes artistically and creatively to evoke desired emotions from the audience.', 'The Roulin Family is group of portrait paintings Vincent van Gogh executed in Arles in 1888 and 1889 on Joseph, his wife Augustine and their three children: Armand, Camille and Marcelle.', 1888, 81, 65, 'Oil on canvas', 350, 420, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Roulin_Family_(Van_Gogh_series)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (352, 19, 29, '019120', 'The Sower', 3, 'https://www.vangoghmuseum.nl/en/collection/s0029V1962', 's0029V1962', 'Non commercial use', NULL, NULL, 1888, 40, 32, 'Oil on canvas', 350, 400, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (552, 101, 18, '101050', 'The Crowning with Thorns', 2, 'https://www.khm.at/de/object/18997733ec/', '307', 'Only for private use', 'With a complete command of anatomy, Caravaggio characterises the varied physical appearance of the protagonists. Christ’s delicate skin is in obvious contrast to the bronzed appearance of his tormentors. His exposed, outstretched neck, which has been forced into a horizontal position, is a clear indication of the brutality of the action. Caravaggio uses decisive contrasts of light and dark to create a strong physical presence.', 'With a complete command of anatomy, Caravaggio characterises the varied physical appearance of the protagonists.', 1603, 166, 127, 'Oil on canvas', 1200, 1400, 'https://www.google.com/culturalinstitute/beta/asset/the-crowning-with-thorns/yAGZLO5MaPVjfQ?hl=en', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (553, 102, 18, '102040', 'The Miracles of St. Francis Xavier', 1, 'https://www.khm.at/de/object/c7af0926b2/', '519', 'Only for private use', 'Like a monument, the protagonist stands in a dark robe with deep folds on the plinth-like projection of a wall. Francis Xavier dominates the scene as the “missionary to the Asian peoples”, his left hand pointing to Fides, the personification of faith, his right hand extended towards the toppling idols, and his gaze turned to the listeners and supplicants. Rubens has used dramatic lighting – the Jesuit is back-lit – to stage the group of listeners and observers, who, keeping a respectful distance, are bathed in bright light. Standing in the shadows the armoured soldier creates an optical turningpoint in the composition, leading the gaze of the viewer to the actual miracle depicted: in the left foreground deathly pale figures are rising from their graves.', 'Francis Xavier dominates the scene as the “missionary to the Asian peoples”, his left hand pointing to Fides, the personification of faith, his right hand extended towards the toppling idols, and his gaze turned to the listeners and supplicants.', 1618, 395, 535, 'Oil on canvas', 2300, 2700, 'https://www.google.com/culturalinstitute/beta/asset/the-miracles-of-st-francis-xavier/mAG-VIH-g-_RNA?hl=en', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (554, 126, 18, '126030', 'Woman and Child with Serving Maid', 2, 'https://www.khm.at/de/object/c32d9bf27a/', '5976', 'Only for private use', ' De Hooch painted the present work during his time in Amsterdam (starting in 1660), where he specialised in depicting the style of home furnishings and life typical of the city’s well-situated citizens. Despite the presence of a serving maid, the elegantly clad mother is caring personally for her infant; she does not waste money on a wet-nurse. Across the spotless tile floor, we look into a second room at the back, then through the half-open door to a house on a canal and the city beyond. A fire is burning on the hearth, providing a colourful accent that recurs in the infant’s clothing and the sunlit view. In a similarly rhythmic fashion, the red of the fabric drying on the hearth is repeated at several points in the picture, giving the composition a balance of colour. This scene makes clear the understanding of (ideal) roles at the time: attentive childcare and a well-run household are a woman’s province.', 'De Hooch painted the present work during his time in Amsterdam (starting in 1660), where he specialised in depicting the style of home furnishings and life typical of the city’s well-situated citizens.', 1664, 76, 64, 'Oil on canvas', 700, 900, 'https://www.google.com/culturalinstitute/beta/asset/woman-and-child-with-serving-maid/PwEM1bzSv2ImXw?hl=en', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (555, 124, 18, '124060', 'Beware of Luxury', 2, 'https://www.khm.at/de/object/9a1de01f89/', '791', 'Only for private use', 'Jan Steen arranges the various actors as though on a theatre stage. The gentle depth of the composition is based on a triangle, with the magnificently dressed young woman at its top point. Her clothing and seductive look identify her as a “loose-living” girl. She, however, is not the focus of the scene; that is provided by the lady of the house, who has fallen asleep at the table on the left. Her “absence” has resulted in the rest of the story: the dog is finishing the meat pie that was served on the table, one of the children is filching something from the cabinet on the wall (“opportunity makes the thief ”), the little girl’s brother is trying out a pipe, and the youngest child, sitting in his highchair, is playing carelessly with a string of pearls. His attention diverted to the side, a young man is trying to play a violin. Young people who continued to live at home were considered suspect in the popular culture of the Netherlands at the time. The prostitute in the foreground has already been mentioned: in a rovocative gesture she holds a filled glass between the legs of the man of the house, while he dismisses with a grin the admonishment of the nun (a Beguine?) standing on the right. The duck on the shoulder of the man next to her identifies him as a Quaker, who urges the reading of pious texts. Finally, the pig in the doorway to the kitchen is an allusion to another proverb: “Neither cast ye your pearls [here: roses] before swine”. Hanging above the heads of these sinners are the symbols of the penalty to be expected for unbridled, lustful behaviour: a sword and a crutch in a basket suspended from the ceiling.', 'The painting’s traditional German title “Die verkehrte Welt” (“The Topsy-Turvy World”) is not completely in accordance with the content, because this is really a humorous warning against one of the seven deadly sins, luxuria extravagance, later lust).', 1663, 145, 105, 'Oil on canvas', 700, 900, 'https://www.google.com/culturalinstitute/beta/asset/beware-of-luxury-%E2%80%9Cin-weelde-siet-toe%E2%80%9D/iAEDJelKemoXnA?hl=en', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (556, 120, 18, '120050', 'Holy Family with St. Anne and the Infant St. John', 1, 'https://www.khm.at/de/object/432aca3a1e/', '183', 'Only for private use', 'ompletely in contrast to the principles of Venetian painting, which made colour the dominant means of expression, Renaissance painting in Florence gave priority to the drawing as the means of expressing artistic invention. Thus there was a demand that the contours in painting be dear and sometimes even sharp. Bronzino’s works are considered the epitome of Florentine disegno and, at the same time, its final pinnacle, which had already assumed the character of Mannerism. Bronzino, who was a pupil of Jacopo Pontormo and thus extremely familiar with the works of Michelangelo, served for many years as court painter to the Medici. He created decorations (now lost) for numerous theatrical works and festive occasions and supplied brilliant designs for the Medici tapestry factory. In his composition Bronzino organises the group in close proximity to one another in the foreground. Nevertheless the figures are arranged next to and behind each other in a way that makes them easy to recognise. The infant St. John is in the foremost position, his gaze and gesture pointing to the infant Jesus, who is depicted frontally. Behind them stands St. Mary, who is holding her son’s arm in a loving gesture. The composition is extended by St. Anne and St. Joseph, who stand out from the central group of three because of their more natural skin colour. More than in almost any other of his works, Bronzino has emphasised the sharply outlined and sculptural figures almost to the point of stony coldness, especially in the case of the two boys. This artistic decision is also an example of paragone (Italian: comparison) – the competition, discussed in art theory at the time, between painting and sculpture to see which could create the better depiction of three-dimensional forms. Here Bronzino creates exciting contrasts: the coolness and clarity of his composition as opposed to the intimate familiar atmosphere; soft and gentle movements contrasted with formal severity and abstraction; turning away from natural models on the one hand but depicting all of their details on the other.', 'Bronzino’s works are considered the epitome of Florentine disegno and, at the same time, its final pinnacle, which had already assumed the character of Mannerism.', 1545, 101, 126, 'Oil on wood', 900, 1200, 'https://www.google.com/culturalinstitute/beta/asset/holy-family-with-st-anne-and-the-infant-st-john/kQF72Dy8lZiemg?hl=en', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (557, 132, 18, '132050', 'The Conquest of Jerusalem by Emperor Titus', 2, 'https://www.khm.at/de/object/78b9cab199/', '1556', 'Only for private use', 'Poussin came to Rome in 1624, and only a short stay in Paris (1640–1642) was to interrupt his Roman career. As a friend of his successful fellow-painter Claude Lorrain and a protégé of Pope Urban VIII and the cultured members of the papal court, Poussin became one of Rome’s most prominent painters. His frequently documented interest in the art of antiquity gave his works a classical touch, which manifests itself in the present painting in its relief-like composition and plain coloration. The chaotic action appears well-organised, with the bodies precisely laid out on the canvas, and the mighty columns of the temple and the rigid figures in the foreground providing a counterweight to the battlefield tumult.', 'As a friend of his successful fellow-painter Claude Lorrain and a protégé of Pope Urban VIII and the cultured members of the papal court, Poussin became one of Rome’s most prominent painters.', 1638, 198, 147, 'Oil on canvas', 1200, 1500, 'https://www.google.com/culturalinstitute/beta/asset/the-conquest-of-jerusalem-by-emperor-titus/YgFi1vGsvyQXXA?hl=en', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (558, 94, 81, '094070', 'Madonna and Child with a Choir of Cherubs', 1, 'http://pinacotecabrera.org/en/collezione-online/opere/madonna-and-child-with-a-choir-of-cherubs/', '297', 'Public domain', 'The panel, attributed to Giovanni Bellini until 1885, when Luigi Cavenaghi’s restoration made it possible to recognize the hand of Mantegna, is probably the one that the artist gave to his friend the abbé Matteo Bosso. It came to Brera in 1808 from the Venetian church of Santa Maria Maggiore following the Napoleonic abolitions.', 'The panel, attributed to Giovanni Bellini until 1885, when Luigi Cavenaghi’s restoration made it possible to recognize the hand of Mantegna', 1490, 70, 88, 'Tempera on panel', 1000, 1300, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (559, 99, 81, '099150', 'The Marriage of the Virgin', 1, 'http://pinacotecabrera.org/en/collezione-online/opere/the-marriage-of-the-virgin/', '336', 'Public domain', 'The painting, dating from 1504, was moved from the Church of San Francesco in Città di Castello to the Pinacoteca in 1805. Raphael painted the Marriage of the Virgin having in mind the altarpiece with the same subject by Perugino, which is conserved at the Musée des Beaux-Arts in Caen. Raphael took inspiration from it, using its composition structure and iconography to obtain a result of incredible and unachievable perfection.', 'Raphael painted the Marriage of the Virgin having in mind the altarpiece with the same subject by Perugino, which is conserved at the Musée des Beaux-Arts in Caen.', 1504, 118, 171, 'Oil on canvas', 1200, 1500, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (560, 93, 81, '093020', 'The Virgin with Child, Angels and Saints', 1, 'http://pinacotecabrera.org/en/collezione-online/opere/the-virgin-with-child-angels-and-saints/', '180', 'Public domain', 'After the Napoleonic abolitions, the altarpiece came to Brera from the church of San Bernardino in Urbino, erected by Federico da Montefeltro to house his own grave. It is likely that Federico commissioned it after the birth of his heir, followed by the death of his wife Battista Sforza (1472), and that he wanted to underline the protection granted by the Virgin to his own dynastic authority through this work dense in symbols.', 'After the Napoleonic abolitions, the altarpiece came to Brera from the church of San Bernardino in Urbino, erected by Federico da Montefeltro to house his own grave.', 1474, 172, 252, 'Tempera on panel', 2500, 4000, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (561, 135, 81, '135010', 'Pietà', 2, 'http://pinacotecabrera.org/en/collezione-online/opere/pieta-giovanni-bellini/', '228', 'Public domain', 'The panel, dated to the years between 1465 and 1470, marks an evident emancipation of the artist from the influence of Andrea Mantegna, to whom he was linked not just by cultural affinities but also by close ties of kinship (they were brothers-in-law).', 'The panel, dated to the years between 1465 and 1470, marks an evident emancipation of the artist from the influence of Andrea Mantegna, to whom he was linked not just by cultural affinities but also by close ties of kinship.', 1470, 107, 86, 'Tempera on panel', 900, 1200, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (398, 99, 4, '099050', 'Madonna of the Goldfinch', 1, 'http://www.uffizi.firenze.it/catalogo/', '1890, 1447', 'Public domain', 'The <em>Madonna del cardellino</em> or <em>Madonna of the Goldfinch</em> is a painting by the Italian renaissance artist Raphael, from c. 1505-1506. A 10-year restoration process was completed in 2008, after which the painting was returned to its home at the Uffizi in Florence. In this painting, as in most of the Madonnas of his Florentine period, Raphael arranged the three figures - Mary, Christ and the young John the Baptist - to fit into a geometrical design. Though the positions of the three bodies are natural, together they form an almost regular triangle. The Madonna is shown young and beautiful, as with Raphael’s various other Madonnas. She is also clothed in red and blue, also typical, for red signifies the passion of Christ and blue was used to signify the church. Christ and John are still very young, only babies. John holds a goldfinch in his hand, and Christ is reaching out to touch it. The background is one typical of Raphael. The natural setting is diverse and yet all calmly frames the central subject taking place.', 'The <em>Madonna del cardellino</em> or <em>Madonna of the Goldfinch</em> is a painting by the Italian renaissance artist Raphael, from c. 1505-1506. A 10-year restoration process was completed in 2008, after which the painting was returned to its home at the Uffizi in Florence. In this painting, as in most of the Madonnas of his Florentine period, Raphael arranged the three figures - Mary, Christ and the young John the Baptist - to fit into a geometrical design.', 1505, 107, 77, 'Oil on wood', 500, 540, 'http://www.googleartproject.com/collection/uffizi-gallery/artwork/madonna-of-the-goldfinch-raffaello-sanzio/330470/', 'Giorgio Vasari writes that Raphael painted this panel for his friend Lorenzo Nasi, a florentine merchant, on the occasion of his marriage to Sandra Canigiani. Significantly damaged by the collapse of the Nasi house from a landslide on Costa a San Giorgio in 1547, it was restored by a Florentine artist, perhaps Ridolfo del Ghirlandaio. The painting was exhibited in the Tribuna in 1704.', 'http://en.wikipedia.org/wiki/Madonna_del_cardellino');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (399, 99, 7, '099060', 'Alba Madonna', 3, 'http://www.nga.gov/content/ngaweb/Collection/art-object-page.26.html', '1937.1.24', 'Open Access', 'The <em>Alba Madonna</em> is a painting by the Italian High Renaissance artist Raphael, depicting Mary, Jesus and John the Baptist, in a typical Italian countryside. John the Baptist is holding up a cross to Jesus, which the baby Jesus is grasping. All three figures are staring at the cross. The three figures are grouped to the left in the round design, but the outstretched arm of the Madonna and the billowing material of her cloak balance the image.', 'The <em>Alba Madonna</em> is a painting by the Italian High Renaissance artist Raphael, depicting Mary, Jesus and John the Baptist, in a typical Italian countryside. John the Baptist is holding up a cross to Jesus, which the baby Jesus is grasping. All three figures are staring at the cross. The three figures are grouped to the left in the round design, but the outstretched arm of the Madonna and the billowing material of her cloak balance the image.', 1510, 94, 94, 'Oil transferred from wood to canvas', 600, 700, 'http://www.googleartproject.com/collection/national-gallery-of-art-washington-dc/artwork/the-alba-madonna-raphael/712887/', NULL, 'http://en.wikipedia.org/wiki/Alba_Madonna');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (401, 99, 43, '099080', 'Sistine Madonna', 1, 'http://skd-online-collection.skd.museum/de/contents/show?id=372144', '93', NULL, '<em>Sistine Madonna</em> is an oil painting by the Italian artist Raphael. Commissioned in 1512 by Pope Julius II as an altarpiece for the church of San Sisto, Piacenza, it was one of the last Madonnas painted by the artist. Relocated to Dresden from 1754, the well-known painting has been particularly influential in Germany. After World War II, it was relocated to Moscow for a decade before it was returned to Germany. There, it resides as one of the central pieces in the Gemäldegalerie Alte Meister. The painting has been highly praised by many notable critics, and Giorgio Vasari called it a \"a truly rare and extraordinary work\".', '<em>Sistine Madonna</em> is an oil painting by the Italian artist Raphael. Commissioned in 1512 by Pope Julius II as an altarpiece for the church of San Sisto, Piacenza, it was one of the last Madonnas painted by the artist. Relocated to Dresden from 1754, the well-known painting has been particularly influential in Germany. The painting has been highly praised by many notable critics, and Giorgio Vasari called it a \"a truly rare and extraordinary work\".', 1512, 265, 196, 'Oil on canvas', 900, 1000, 'http://www.googleartproject.com/collection/gemaldegalerie-alte-meister-old-masters-picture-gallery/artwork/the-sistine-madonna-raphael/712643/', NULL, 'http://en.wikipedia.org/wiki/Sistine_Madonna');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (403, 99, 43, '099100', 'Madonna of the Chair', 3, 'http://skd-online-collection.skd.museum/en/contents/showSearch?id=505378', '97', NULL, 'The <em>Madonna of the Chair</em> or the <em>Madonna della seggiola</em> is a Madonna painting by the Italian renaissance artist Raphael, dating to c. 1513-1514 and housed in the Palazzo Pitti collection in Florence. It depicts Mary embracing the child Christ, while the young John the Baptist devoutly watches. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. Instead, the warmer colors seem to suggest the influence of Titian and Raphael\'s rival Sebastiano del Piombo.', 'The <em>Madonna of the Chair</em> or the <em>Madonna della seggiola</em> is a Madonna painting by the Italian renaissance artist Raphael, dating to c. 1513-1514 and housed in the Palazzo Pitti collection in Florence. It depicts Mary embracing the child Christ, while the young John the Baptist devoutly watches.', 1514, 71, 71, 'Oil on panel', 500, 600, NULL, NULL, 'http://en.wikipedia.org/wiki/Madonna_della_seggiola');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (405, 99, 7, '099120', 'Portrait of Bindo Altoviti', 1, 'http://www.nga.gov/content/ngaweb/Collection/art-object-page.12131.html', '1943.4.33', 'Open Access', 'The <em>Portrait of Bindo Altoviti</em> is a painting finished around 1515 by the Italian High Renaissance painter Raphael. Bindo Altoviti was a rich banker born in Rome in 1491, but of Florentine origin. He was a cultured man who loved the arts. The graceful, almost effeminate position of the subject along with the heavy contrast between light and shadow are atypical of Raphael\'s work, particularly of his portraits of men, demonstrating the artist\'s experimentation with different styles and forms in his later Roman period. The influence of the works of Leonardo, which Raphael studied astutely during this period of his career, are strikingly evident in this particular piece.', 'The <em>Portrait of Bindo Altoviti</em> is a painting finished around 1515 by the Italian High Renaissance painter Raphael. Bindo Altoviti was a rich banker born in Rome in 1491, but of Florentine origin. He was a cultured man who loved the arts.', 1515, 60, 44, 'Oil on wood', 600, 660, 'http://www.googleartproject.com/collection/national-gallery-of-art-washington-dc/artwork/bindo-altoviti-raphael/718252/', NULL, 'http://en.wikipedia.org/wiki/Portrait_of_Bindo_Altoviti_(Raphael)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (406, 100, 5, '100010', 'A Man with a Quilted Sleeve', 1, 'https://www.nationalgallery.org.uk/paintings/titian-portrait-of-gerolamo-barbarigo', 'NG1944', 'Creative Commons BY-NC-ND 4.0', 'This portrait was eloquently described by Giorgio Vasari in his 1568 biography of Titian. He identified the man as a member of the Barbarigo, an aristocratic Venetian family. The most likely candidate is Gerolamo, who was 30 years old in 1509. He had numerous political and literary contacts and would have helped the young Titian on his path to success.', 'This portrait was eloquently described by Giorgio Vasari in his 1568 biography of Titian. He identified the man as a member of the Barbarigo, an aristocratic Venetian family. The most likely candidate is Gerolamo, who was 30 years old in 1509. He had numerous political and literary contacts and would have helped the young Titian on his path to success.', 1509, 81, 66, 'Oil on canvas', 500, 550, 'http://www.googleartproject.com/collection/the-national-gallery-london/artwork/portrait-of-gerolamo-barbarigo-titian/330402/', NULL, 'http://en.wikipedia.org/wiki/A_Man_with_a_Quilted_Sleeve');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (407, 100, 4, '100020', 'Flora', 1, 'http://www.uffizi.firenze.it/catalogo/', '1890, 146', 'Public domain', '<em>Flora</em> is an oil painting by Italian late Renaissance painter Titian, dated to around 1515 and now held at the Uffizi Gallery in Florence. The work was reproduced in numerous 16th century etchings. It portrays an idealized beautiful woman, a model established in the Venetian school by Titian\'s master Giorgione with his Laura. Her left hands holds a pink-shaded mantle, while another holds a handful of flowers and leaves. The meaning of the painting is disputed: some, basing for example to inscriptions added to the 16th century reproductions, identifies the woman as a courtesan; other consider it a symbol of nuptial love, although her dress is not a dressing one. The identification with Flora, the ancient goddess of Spring and vegetation, derives from the presence of Spring flowers in her hands.', '<em>Flora</em> is an oil painting by Italian late Renaissance painter Titian, dated to around 1515. The work was reproduced in numerous 16th century etchings. It portrays an idealized beautiful woman, a model established in the Venetian school by Titian\'s master Giorgione with his Laura. Her left hands holds a pink-shaded mantle, while another holds a handful of flowers and leaves.', 1515, 80, 63, 'Oil on canvas', 700, 800, 'http://www.googleartproject.com/collection/uffizi-gallery/artwork/flora-tiziano-vecellio/327477/', 'Until 1641 this painting belonged to Alfonso Lòpez, a businessman and Cardinal Richelieu\'s agent in Amsterdam. Documented in the Imperial Gallery of Vienna after 1728, it was exchanged for another painting in the Uffizi in 1793. Over the years, unsuccessful attempts have been made to identify the woman portrayed, although the most probable hypothesis remains that it represents the mythological figure, Flora.', 'http://en.wikipedia.org/wiki/Flora_(Titian)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (408, 100, 5, '100030', 'Bacchus and Ariadne', 3, 'https://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne', 'NG35', 'Creative Commons BY-NC-ND 4.0', '<em>Bacchus and Ariadne</em> (1520–23)[1] is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso d\'Este, the Duke of Ferrara, for the Camerino d\'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus. At the time of Raphael\'s death in 1520, only a preliminary drawing was completed and the commission was then handed to Titian. In the case of Bacchus and Ariadne, the subject matter was derived from the Roman poets Catullus and Ovid. The painting, considered one of Titian\'s greatest works, now hangs in the National Gallery in London.', '<em>Bacchus and Ariadne</em> (1520–23)[1] is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso d\'Este, the Duke of Ferrara, for the Camerino d\'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts.', 1520, 176, 191, 'Oil on canvas', 1200, 1400, 'http://www.googleartproject.com/collection/the-national-gallery-london/artwork/bacchus-and-ariadne-titian/331385/', NULL, 'http://en.wikipedia.org/wiki/Bacchus_and_Ariadne');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (409, 100, 4, '100040', 'Venus of Urbino', 2, 'http://www.uffizi.firenze.it/catalogo/', '1890, 1437', 'Public domain', '<em>The Venus of Urbino</em> is a 1538 oil painting by the Italian master Titian. It depicts a nude young woman, identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. It hangs in the Galleria degli Uffizi in Florence. The figure\'s pose is based on Giorgione\'s Sleeping Venus (c. 1510), which Titian completed. In this depiction, Titian has domesticated Venus by moving her to an indoor setting, engaging her with the viewer, and making her sensuality explicit. Devoid as it is of any classical or allegorical trappings – Venus displays none of the attributes of the goddess she is supposed to represent – the painting is unapologetically erotic.', '<em>The Venus of Urbino</em> is a 1538 oil painting by the Italian master Titian. It depicts a nude young woman, identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. In this depiction, Titian has domesticated Venus by moving her to an indoor setting, engaging her with the viewer, and making her sensuality explicit.', 1538, 166, 119, 'Oil on canvas', 1000, 1100, 'http://www.googleartproject.com/collection/uffizi-gallery/artwork/venus-of-urbino-tiziano-vecellio/324480/', 'This painting was purchased in 1538 by Guidobaldo della Rovere, duke of Urbino, who called it the image of a \"nude woman\" in the correspondence with his ambassador in Venice. It was Giorgio Vasari who described it as \"a young Venus lying down\", an identification thereafter unanimously accepted. It reached Florence with Vittoria della Rovere who, in 1631, inherited the estate of her grandfather, Francesco Maria II; in 1637, she married Ferdinand II of Tuscany. The Venus was placed in the Tribuna of the Uffizi in 1736, but it was hidden from the visitors\' view by a cover depicting Sacred Love.', 'http://en.wikipedia.org/wiki/Venus_of_Urbino');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (412, 101, 5, '101030', 'Supper at Emmaus', 2, 'https://www.nationalgallery.org.uk/paintings/michelangelo-merisi-da-caravaggio-the-supper-at-emmaus', 'NG172', 'Creative Commons BY-NC-ND 4.0', '<em>The Supper at Emmaus</em>  is a painting by the Italian Baroque master Caravaggio, and now in the National Gallery in London. The painting depicts the moment when the resurrected but incognito Jesus, reveals himself to two of his disciples (presumed to be Luke and Cleopas), only to soon vanish from their sight. Cleopas wears the scallopshell of a pilgrim. The other apostle wears torn clothes. Cleopas gesticulates in a perspectively-challenging extension of arms in and out of the frame of reference. The standing groom, forehead smooth and face in darkness, appears oblivious to the event. The painting is unusual for the life-sized figures, the dark and blank background. The table lays out a still-life meal. The basket of food teeters perilously over the edge.', '<em>The Supper at Emmaus</em>  is a painting by the Italian Baroque master Caravaggio, and now in the National Gallery in London. The painting depicts the moment when the resurrected but incognito Jesus, reveals himself to two of his disciples.', 1601, 141, 196, 'Oil on canvas', 1300, 1500, NULL, NULL, 'http://en.wikipedia.org/wiki/Supper_at_Emmaus_(London)_(Caravaggio)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (413, 102, 5, '102010', 'The Judgement of Paris', 2, 'https://www.nationalgallery.org.uk/paintings/peter-paul-rubens-the-judgement-of-paris', 'NG194', 'Creative Commons BY-NC-ND 4.0', '<em>The Judgement of Paris</em> produced by Peter Paul Rubens is one of two very similar paintings. Both show Rubens\' version of idealised feminine beauty, with the goddesses Venus, Minerva and Juno on one side and Paris accompanied by Mercury on the other.', '<em>The Judgement of Paris</em> produced by Peter Paul Rubens is one of two very similar paintings. Both show Rubens\' version of idealised feminine beauty, with the goddesses Venus, Minerva and Juno on one side and Paris accompanied by Mercury on the other.', 1636, 144, 193, 'Oil on canvas', 900, 1100, 'http://www.googleartproject.com/collection/the-national-gallery-london/artwork/the-judgement-of-paris-peter-paul-rubens/331377/details/', NULL, 'http://en.wikipedia.org/wiki/The_Judgment_of_Paris_(Rubens)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (417, 104, 2, '104010', 'Las Meninas', 1, 'https://www.museodelprado.es/en/the-collection/art-work/las-meninas/9fdc7800-9ade-48b0-ab8b-edee94ea877f', 'P01174', 'Private, personal, academic, research or educational', '<em>Las Meninas</em> (Spanish for <em>The Maids of Honour</em>) is a 1656 painting by Diego Velázquez, the leading artist of the Spanish Golden Age, in the Museo del Prado in Madrid. The work\'s complex and enigmatic composition raises questions about reality and illusion, and creates an uncertain relationship between the viewer and the figures depicted. Because of these complexities, Las Meninas has been one of the most widely analyzed works in Western painting. The painting shows a large room in the Madrid palace of King Philip IV of Spain, and presents several figures, most identifiable from the Spanish court, captured, according to some commentators, in a particular moment as if in a snapshot. Some look out of the canvas towards the viewer, while others interact among themselves. The young Infanta Margaret Theresa is surrounded by her entourage of maids of honour, chaperone, bodyguard, two dwarfs and a dog. Just behind them, Velázquez portrays himself working at a large canvas. Velázquez looks outwards, beyond the pictorial space to where a viewer of the painting would stand. In the background there is a mirror that reflects the upper bodies of the king and queen. They appear to be placed outside the picture space in a position similar to that of the viewer, although some scholars have speculated that their image is a reflection from the painting Velázquez is shown working on.', '<em>Las Meninas</em> (Spanish for <em>The Maids of Honour</em>) is a 1656 painting by Diego Velázquez, the leading artist of the Spanish Golden Age, in the Museo del Prado in Madrid. The work\'s complex and enigmatic composition raises questions about reality and illusion, and creates an uncertain relationship between the viewer and the figures depicted. Because of these complexities, Las Meninas has been one of the most widely analyzed works in Western painting.', 1656, 318, 276, 'Oil on canvas', 1100, 1200, NULL, NULL, 'http://en.wikipedia.org/wiki/Las_Meninas');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (418, 104, 2, '104020', 'The Surrender of Breda', 2, 'https://www.museodelprado.es/en/the-collection/art-work/the-surrender-of-breda/0cc7577a-51d9-44fd-b4d5-4dba8d9cb13a', 'P01172', 'Private, personal, academic, research or educational', '<em>La rendición de Breda</em> (English: <em>The Surrender of Breda</em>) is a painting by Velázquez, painted during the years 1634–35, and inspired while Velázquez was visiting Italy with Ambrogio Spinola, the Genoese general who conquered Breda on June 5, 1625. It is considered one of Velázquez\'s best artworks. Jan Morris has called it \"one of the most Spanish of all pictures\". The capture of Breda in 1625 was one of the few major successes of Spanish arms in the latter stages of the Eighty Years\' War. The Spanish general, the Genoese aristocrat Ambrogio Spinola, conquered Breda in contradiction to the instructions of his superiors. Before its capture the Spanish government had decided that siege warfare of heavily defended towns of the Low Countries was too wasteful and that it would concentrate on the economic blockade of the Dutch republic. The bulk of Spanish forces were diverted to the unfolding vast Thirty Years War.', '<em>La rendición de Breda</em> (English: <em>The Surrender of Breda</em>) is a painting by Velázquez, painted during the years 1634–35, and inspired while Velázquez was visiting Italy with Ambrogio Spinola, the Genoese general who conquered Breda on June 5, 1625. It is considered one of Velázquez\'s best artworks. Jan Morris has called it \"one of the most Spanish of all pictures\".', 1634, 307, 367, 'Oil on canvas', 1000, 1100, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Surrender_of_Breda');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (419, 104, 5, '104030', 'Rokeby Venus', 2, 'https://www.nationalgallery.org.uk/paintings/diego-velazquez-the-toilet-of-venus-the-rokeby-venus', 'NG2057', 'Creative Commons BY-NC-ND 4.0', '<em>The Rokeby Venus</em> is a painting by Diego Velázquez (1599–1660), the leading artist of the Spanish Golden Age. Completed between 1647 and 1651, and probably painted during the artist\'s visit to Italy, the work depicts the goddess Venus in a sensual pose, lying on a bed and looking into a mirror held by the Roman god of physical love, her son Cupid. Numerous works, from the ancient to the baroque, have been cited as sources of inspiration for Velázquez. The nude Venuses of the Italian painters, such as Giorgione\'s Sleeping Venus (c. 1510) and Titian\'s Venus of Urbino (1538), were the main precedents. In this work, Velázquez combined two established poses for Venus: recumbent on a couch or a bed, and gazing at a mirror. She is often described as looking at herself on the mirror, although this is physically impossible since viewers can see her face reflected in their direction. This phenomenon is known as the Venus effect. In a number of ways the painting represents a pictorial departure, through its central use of a mirror, and because it shows the body of Venus turned away from the observer of the painting.', '<em>The Rokeby Venus</em> is a painting by Diego Velázquez (1599–1660), the leading artist of the Spanish Golden Age. Completed between 1647 and 1651, and probably painted during the artist\'s visit to Italy, the work depicts the goddess Venus in a sensual pose, lying on a bed and looking into a mirror held by the Roman god of physical love, her son Cupid.', 1647, 122, 177, 'Oil on canvas', 600, 700, NULL, NULL, 'http://en.wikipedia.org/wiki/Rokeby_Venus');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (420, 105, 32, '105010', 'The Anatomy Lesson of Dr. Nicolaes Tulp', 2, 'https://www.mauritshuis.nl/en/explore/the-collection/artworks/the-anatomy-lesson-of-dr-nicolaes-tulp-146/', '146', 'Private Use Only', '<em>The Anatomy Lesson of Dr. Nicolaes Tulp</em> is a 1632 oil painting by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. Dr. Nicolaes Tulp is pictured explaining the musculature of the arm to medical professionals. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrant. This may be the first instance of Rembrandt signing a painting with his forename (in its original form) as opposed to the monogramme RHL (Rembrant Harmenszoon of Leiden), and is thus a sign of his growing artistic confidence.', '<em>The Anatomy Lesson of Dr. Nicolaes Tulp</em> is a 1632 oil painting by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. Dr. Nicolaes Tulp is pictured explaining the musculature of the arm to medical professionals. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrant. This may be the first instance of Rembrandt signing a painting with his forename (in its original form) as opposed to the monogramme RHL (Rembrant Harmenszoon of Leiden), and is thus a sign of his growing artistic confidence.', 1632, 216, 170, 'Oil on canvas', 900, 1100, NULL, NULL, 'http://en.wikipedia.org/wiki/Anatomy_Lesson_of_Dr._Nicolaes_Tulp');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (422, 105, 43, '105020', 'The Prodigal Son in the Tavern', 1, 'http://skd-online-collection.skd.museum/en/contents/showSearch?id=376227', '1559', NULL, '<em>The Prodigal Son in the Brothel</em> is a painting by the Dutch master Rembrandt. It is housed in the Gemäldegalerie Alte Meister of Dresden, Germany. It is signed \"REMBRANDT F.\". It portrays two people who had been identified as Rembrandt himself and his wife Saskia. In the Protestant contemporary world, the theme of the prodigal son was a frequent subject for works of art due to its moral background.', '<em>The Prodigal Son in the Brothel</em> is a painting by the Dutch master Rembrandt. It is housed in the Gemäldegalerie Alte Meister of Dresden, Germany. It is signed \"REMBRANDT F.\". It portrays two people who had been identified as Rembrandt himself and his wife Saskia. In the Protestant contemporary world, the theme of the prodigal son was a frequent subject for works of art due to its moral background.', 1637, 161, 131, 'Oil on canvas', 850, 920, 'http://www.googleartproject.com/collection/gemaldegalerie-alte-meister-old-masters-picture-gallery/artwork/rembrandt-and-saskia-in-the-scene-of-the-prodigal-son-rembrandt/712645/', NULL, 'http://en.wikipedia.org/wiki/The_Prodigal_Son_in_the_Tavern');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (423, 105, 24, '105030', 'The Return of the Prodigal Son', 1, 'https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+Paintings/43413/?lng=en', '742', 'Personal non-commercial use', '<em>The Return of the Prodigal Son</em> is an oil painting by Rembrandt. It is among the Dutch master\'s final works, likely completed within two years of his death in 1669. Depicting the moment of the prodigal son\'s return to his father in the Biblical parable, it is a renowned work described by art historian Kenneth Clark as \"a picture which those who have seen the original in Leningrad may be forgiven for claiming as the greatest picture ever painted\".', '<em>The Return of the Prodigal Son</em> is an oil painting by Rembrandt. It is among the Dutch master\'s final works, likely completed within two years of his death in 1669. Depicting the moment of the prodigal son\'s return to his father in the Biblical parable, it is a renowned work described by art historian Kenneth Clark as \"a picture which those who have seen the original in Leningrad may be forgiven for claiming as the greatest picture ever painted\".', 1661, 262, 205, 'Oil on canvas', 700, 775, 'http://www.googleartproject.com/collection/the-state-hermitage-museum/artwork/return-of-the-prodigal-son-rembrandt-harmensz-van-rijn/327455/', NULL, 'http://en.wikipedia.org/wiki/The_Return_of_the_Prodigal_Son_(Rembrandt)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (424, 106, 30, '106010', 'The Milkmaid', 1, 'http://hdl.handle.net/10934/RM0001.COLLECT.6417', 'SK-A-2344', 'Public domain', '<em>The Milkmaid</em> is an oil-on-canvas painting of a \"milkmaid\", in fact a domestic kitchen maid, by the Dutch artist Johannes Vermeer. It is now in the Rijksmuseum in Amsterdam, Netherlands, which regards it as \"unquestionably one of the museum\'s finest attractions\". The painting is strikingly illusionistic, conveying not just details but a sense of the weight of the woman and the table. \"The light, though bright, doesn\'t wash out the rough texture of the bread crusts or flatten the volumes of the maid\'s thick waist and rounded shoulders\", wrote Karen Rosenberg, an art critic for The New York Times. Yet with half of the woman\'s face in shadow, it is \"impossible to tell whether her downcast eyes and pursed lips express wistfulness or concentration,\" she wrote.', '<em>The Milkmaid</em> is an oil-on-canvas painting of a \"milkmaid\", in fact a domestic kitchen maid, by the Dutch artist Johannes Vermeer. It is now in the Rijksmuseum in Amsterdam, Netherlands, which regards it as \"unquestionably one of the museum\'s finest attractions\".', 1657, 46, 41, 'Oil on canvas', 450, 525, 'http://www.googleartproject.com/collection/rijksmuseum/artwork/the-milkmaid-johannes-vermeer/328442/', 'Intent on her task, the kitchen maid pours milk from a jug. The composition radiates a quiet calm, the only movement being the flow of milk into the bowl. Its most exceptional feature is the rendering of light. The tiny dots representing the reflection of light - as in the br eadrolls on the table - are typical of Vermeer\'s technique. This painting is a high point within Vermeer\'s oeuvre. Of the thirty or so works he produced, four are in the Rijksmuseum.', 'http://en.wikipedia.org/wiki/The_Milkmaid_(Vermeer)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (425, 106, 32, '106020', 'Girl with a Pearl Earring', 1, 'https://www.mauritshuis.nl/en/explore/the-collection/artworks/girl-with-a-pearl-earring-670/', '670', 'Private Use Only', '<em>Girl with a Pearl Earring</em> is one of Johannes Vermeer\'s masterworks and, as the name implies, uses a pearl earring for a focal point. Today the painting is kept in the Mauritshuis gallery in The Hague. It is sometimes referred to as \"the Mona Lisa of the North\" or \"the Dutch Mona Lisa\". More recent Vermeer literature points to the image being a tronie, the Dutch 17th-century description of a head that was not meant to be a portrait. After the most recent restoration of the painting in 1994, the subtle colour scheme and the intimacy of the girl’s gaze toward the viewer have been greatly enhanced.', '<em>Girl with a Pearl Earring</em> is one of Johannes Vermeer\'s masterworks and, as the name implies, uses a pearl earring for a focal point. Today the painting is kept in the Mauritshuis gallery in The Hague. It is sometimes referred to as \"the Mona Lisa of the North\" or \"the Dutch Mona Lisa\".', 1665, 44, 39, 'Oil on canvas', 500, 600, NULL, NULL, 'http://en.wikipedia.org/wiki/Girl_with_a_Pearl_Earring');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (426, 106, 18, '106030', 'The Art of Painting', 3, 'https://www.khm.at/de/object/8f125da0b3/', '9128', 'Only for private use', '<em>The Art of Painting</em> is a famous 17th century oil on canvas painting by Dutch painter, Johannes Vermeer. Many art historians believe that it is an allegory of painting, hence the alternative title of the painting. After Vermeer\'s The Procuress it is the largest work by the master. Its composition and iconography also make it the most complex Vermeer work of all.', '<em>The Art of Painting</em> is a famous 17th century oil on canvas painting by Dutch painter, Johannes Vermeer. Many art historians believe that it is an allegory of painting, hence the alternative title of the painting. After Vermeer\'s The Procuress it is the largest work by the master. Its composition and iconography also make it the most complex Vermeer work of all.', 1666, 130, 110, 'Oil on canvas', 850, 925, 'http://www.googleartproject.com/collection/kunsthistorisches-museum-vienna-museum-of-fine-arts/artwork/the-art-of-painting-jan-vermeer/680295/', NULL, 'http://en.wikipedia.org/wiki/The_Art_of_Painting');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (427, 106, 30, '106040', 'The Love Letter', 3, 'http://hdl.handle.net/10934/RM0001.COLLECT.6418', 'SK-A-1595', 'Public domain', '<em>The Love Letter</em> is a 17th-century genre painting by Jan Vermeer. The painting shows a servant maid handing a letter to a young woman with a cittern. The tied-up curtain in the foreground creates the impression that the viewer is looking at an intensely private, personal scene. There is also an element of trompe l\'oeil as Dutch paintings were often hung with little curtains to conserve them, and the device of painted curtains is seen in other Dutch works of the period. The diagonals on the chequered floor create the impression of depth and three-dimensionality. The fact that it is a love letter that the woman has received is made clear by the fact that she is carrying a lute (more specifically, a cittern, a member of the lute/guitar family). The lute was a symbol of love - often carnal love; luit was also a slang term for vagina. This idea is further reinforced by the slippers at the very bottom of the picture. The removed slipper was another symbol of sex. The floor brush would appear to represent domesticity, and its placement at the side of the painting may suggest that domestic concerns have been forgotten or pushed aside.', '<em>The Love Letter</em> is a 17th-century genre painting by Jan Vermeer. The painting shows a servant maid handing a letter to a young woman with a cittern.', 1666, 44, 38, 'Oil on canvas', 750, 900, 'http://www.googleartproject.com/collection/rijksmuseum/artwork/the-love-letter-johannes-vermeer/324409/', 'Here Vermeer has chosen an unusual vantage point. From the depths of a shadowy space, we are given a glimpse of a room. A richly clad woman has momentarily ceased her music-making for a letter that has just been handed to her. She looks up expectantly at the servant girl. The subject of the letter could be related to the seascape behind the two women. In the 17th century the sea was often compared to love, and the lover to a ship.', 'http://en.wikipedia.org/wiki/The_Love_Letter_(Vermeer)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (428, 107, 50, '107010', 'Madame de Pompadour', 2, 'https://www.nationalgalleries.org/object/NG 429', 'NG 429', NULL, 'Jeanne Antoinette Poisson, Marquise de Pompadour, otherwise known as Madame de Pompadour, was the mistress of King Louis XV, as well as a prominent patron of Francois Boucher. Unlike the many other mistresses of the king, Madame de Pompadour continued to be a presence at the court by creating a cordial relationship with the Queen, by accompanying the King on hunting trips and social gatherings, and commissioning paintings of herself, which hid her aging looks. Although she did commission works from other artists, the majority of her portraits were done by Boucher.', 'Jeanne Antoinette Poisson, otherwise known as Madame de Pompadour, was the mistress of King Louis XV, as well as a prominent patron of Francois Boucher. Unlike the many other mistresses of the king, Madame de Pompadour continued to be a presence at the court by creating a cordial relationship with the Queen, by accompanying the King on hunting trips and social gatherings, and commissioning paintings of herself, which hid her aging looks.', 1758, 463, 379, 'Oil on canvas', 1400, 1500, 'http://www.googleartproject.com/collection/national-galleries-of-scotland/artwork/madame-de-pompadour-jeanne-antoinette-poisson-1721-1764-attributed-to-francois-boucher/427538/', NULL, 'http://en.wikipedia.org/wiki/Madame_de_Pompadour');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (430, 108, 27, '108010', 'Still Life with Peaches, a Silver Goblet, Grapes, and Walnuts', 2, 'http://www.getty.edu/art/collection/objects/793/jean-simeon-chardin-still-life-with-peaches-a-silver-goblet-grapes-and-walnuts-french-about-1759-1760/', '86.PA.544', 'Public domain', 'In still lifes, genre scenes, and the occasional portrait, Chardin\'s skill at rendering the visual and tactile qualities of simple objects won him the admiration of critics like Diderot. In this small still life, Chardin portrayed a modest subject--three walnuts, four peaches, two bunches of grapes, and a pewter mug--but gave the objects monumentality by arranging them in pure geometric groupings and concentrating on their basic forms. He suggested the objects\' various textures and substances through the play of light across surfaces and successive applications of paint. In this way, Chardin conveyed the fuzzy skin of the peaches, the hard, brittle shell of the walnuts, the translucence of the grapes, and the heavy, cold exterior of the pewter mug.', ' In this small still life, Chardin portrayed a modest subject--three walnuts, four peaches, two bunches of grapes, and a pewter mug--but gave the objects monumentality by arranging them in pure geometric groupings and concentrating on their basic forms. He suggested the objects\' various textures and substances through the play of light across surfaces and successive applications of paint. In this way, Chardin conveyed the fuzzy skin of the peaches, the hard, brittle shell of the walnuts, the translucence of the grapes, and the heavy, cold exterior of the pewter mug.', 1759, 46, 38, 'Oil on canvas', 500, 550, 'http://www.googleartproject.com/collection/the-j-paul-getty-museum/artwork/still-life-with-peaches-a-silver-goblet-grapes-and-walnuts-jean-simeon-chardin-french-1699-1779/2788394/', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (431, 109, 17, '109010', 'Age of Innocence', 1, 'http://www.tate.org.uk/art/artworks/reynolds-the-age-of-innocence-n00307', 'N00307', 'Creative Commons CC-BY-NC-ND 3.0', '<em>The Age of Innocence</em> is an oil on canvas picture by Sir Joshua Reynolds, painted in either 1785 or 1788 and measuring 765 x 638 mm. The sitter is unknown, but was possibly Reynolds\'s great-niece Theophila Gwatkin (who was three in 1785), or Lady Anne Spencer (1773–1865), the youngest daughter of the 4th Duke of Marlborough. The picture is a character study, or, in 18th-century terms, a fancy picture, and was painted over another Reynolds work, A Strawberry Girl, perhaps because Strawberry had suffered some paint losses. Only the hands remain in their original state. Innocence itself has deteriorated since 1859. The picture was presented to the National Gallery in 1847 by Robert Vernon, and has hung in the Tate since 1951. The picture became a favourite with the public, and was copied hundreds of times.', '<em>The Age of Innocence</em> is an oil on canvas picture by Sir Joshua Reynolds, painted in either 1785 or 1788 and measuring 765 x 638 mm.', 1788, 76, 64, 'Oil on canvas', 700, 800, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Age_of_Innocence_(painting)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (432, 109, 17, '109020', 'Three Ladies Adorning a Term of Hymen', 2, 'http://www.tate.org.uk/art/artworks/reynolds-three-ladies-adorning-a-term-of-hymen-n00079', 'N00079', 'Creative Commons CC-BY-NC-ND 3.0', 'Shows the aristocratic Montgomery sisters – Barbara, Elizabeth and Anne. Their father was the Irish aristocrat Sir William Montgomery and they were known as the Irish Graces. They are shown gathering flowers to decorate a statue of Hymen, the Roman god of marriage.', 'Shows the aristocratic Montgomery sisters – Barbara, Elizabeth and Anne. Their father was the Irish aristocrat Sir William Montgomery and they were known as the Irish Graces. They are shown gathering flowers to decorate a statue of Hymen, the Roman god of marriage.', 1773, 233, 290, 'Oil on Canvas', 1200, 1400, NULL, NULL, 'http://en.m.wikipedia.org/wiki/File:Sir_Joshua_Reynolds_-_Three_Ladies_Adorning_a_Term_of_Hymen_-_Google_Art_Project.jpg');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (433, 110, 5, '110010', 'Mr and Mrs Andrews', 4, 'https://www.nationalgallery.org.uk/paintings/thomas-gainsborough-mr-and-mrs-andrews', 'NG6301', 'Creative Commons BY-NC-ND 4.0', '<em>Mr and Mrs Andrews</em>is an oil on canvas portrait by Thomas Gainsborough in the National Gallery, London. Today it is one of his most famous works. Thomas Gainsborough was twenty-one when he painted Mr and Mrs Andrews in 1750.', '<em>Mr and Mrs Andrews</em>is an oil on canvas portrait by Thomas Gainsborough in the National Gallery, London. Today it is one of his most famous works. Thomas Gainsborough was twenty-one when he painted Mr and Mrs Andrews in 1750.', 1750, 69, 119, 'Oil on Canvas', 900, 1100, NULL, NULL, 'http://en.wikipedia.org/wiki/Mr_and_Mrs_Andrews');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (435, 110, 5, '110030', 'Portrait of Mrs. Sarah Siddons', 1, 'https://www.nationalgallery.org.uk/paintings/thomas-gainsborough-mrs-siddons', 'NG683', 'Creative Commons BY-NC-ND 4.0', 'Sarah Siddons was the outstanding tragic actress of her time. Reynolds and other artists also painted her portrait. Gainsborough is reported to have had difficulties with the nose.', 'Sarah Siddons was the outstanding tragic actress of her time. Reynolds and other artists also painted her portrait. Gainsborough is reported to have had difficulties with the nose.', 1785, 126, 100, 'Oil on Canvas', 700, 800, NULL, NULL, 'http://en.wikipedia.org/wiki/File:Thomas_Gainsborough_015.jpg');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (436, 110, 7, '110040', 'Mrs. Richard Brinsley Sheridan', 1, 'http://www.nga.gov/content/ngaweb/Collection/art-object-page.99.html', '1937.1.92', 'Open Access', '<em>Mrs. Richard Brinsley Sheridan</em> is an oil on canvas portrait painted by Thomas Gainsborough between 1785 and 1787. It was acquired by the National Gallery of Art in 1937. Mrs. Sheridan (Elizabeth Ann Linley) was a talented musician who enjoyed professional success in Bath and London before marrying Richard Brinsley Sheridan in 1773 and abandoning her career. She was 31 when she sat for Gainsborough. She died from tuberculosis at the age of thirty-eight.', '<em>Mrs. Richard Brinsley Sheridan</em> is an oil on canvas portrait painted by Thomas Gainsborough between 1785 and 1787. It was acquired by the National Gallery of Art in 1937.', 1787, 219, 153, 'Oil on Canvas', 550, 625, NULL, NULL, 'http://en.wikipedia.org/wiki/Mrs._Richard_Brinsley_Sheridan_(painting)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (437, 113, 5, '113010', 'Self-portrait in a Straw Hat', 1, 'https://www.nationalgallery.org.uk/paintings/elisabeth-louise-vigee-le-brun-self-portrait-in-a-straw-hat', 'NG1653', 'Creative Commons BY-NC-ND 4.0', 'The painting appears, after cleaning, to be an autograph replica of a picture, the original of which was painted in Brussels in 1782 in free imitation of Rubens\'s \'Chapeau de Paille\', which Vigée Le Brun had seen in Antwerp. It was exhibited in Paris in 1782 at the Salon de la Correspondance. Vigée Le Brun\'s original is recorded in a private collection in France.', 'The painting appears, after cleaning, to be an autograph replica of a picture, the original of which was painted in Brussels in 1782 in free imitation of Rubens\'s \'Chapeau de Paille\', which Vigée Le Brun had seen in Antwerp. It was exhibited in Paris in 1782 at the Salon de la Correspondance. Vigée Le Brun\'s original is recorded in a private collection in France.', 1782, 98, 71, 'Oil on Canvas', 700, 800, NULL, NULL, 'http://en.wikipedia.org/wiki/File:Self-portrait_in_a_Straw_Hat_by_Elisabeth-Louise_Vig%C3%A9e-Lebrun.jpg');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (438, 112, 32, '112010', 'The Proposition', 1, 'https://www.mauritshuis.nl/en/explore/the-collection/artworks/man-offering-money-to-a-young-woman-564', '564', 'Private Use Only', '<em>The Proposition</em> is a genre painting of 1631 by Judith Leyster, now in the Mauritshuis in The Hague, who title it Man offering money to a young woman. It depicts a woman, sewing by candlelight, as a man leans over her, touching her right shoulder with his left hand. He is offering her coins in her right hand, but she is apparently ignoring the offer and concentrating intently upon her sewing.', '<em>The Proposition</em> is a genre painting of 1631 by Judith Leyster, now in the Mauritshuis in The Hague, who title it Man offering money to a young woman. It depicts a woman, sewing by candlelight, as a man leans over her, touching her right shoulder with his left hand.', 1631, 31, 24, 'Oil on Canvas', 500, 600, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Proposition_(painting)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (439, 111, 4, '111010', 'Judith Slaying Holofernes', 1, 'http://www.uffizi.firenze.it/catalogo/', NULL, 'Public domain', '<em>Judith Slaying Holofernes</em> is a painting by the Italian early Baroque artist Artemisia Gentileschi completed between 1611–12. The work shows an apocrypha scene from the Old Testament Book of Judith which details the delivery of Israel from the Assyrian general Holofernes. In this scene, Judith and her maidservant behead the general after he has fallen asleep drunk. The painting is relentlessly physical, from the wide spurts of blood to the energy of the two women as they try to wield the large dagger. The effort of the women\'s struggle is most finely represented by the delicate face of the maid, which is grasped by the oversized, muscular fist of Holofernes as he desperately struggles to survive. Although the painting depicts a classic scene from the Bible, Gentileschi drew herself as Judith and her mentor Agostino Tassi, who was tried in court for her rape, as Holofernes.', '<em>Judith Slaying Holofernes</em> is a painting by the Italian early Baroque artist Artemisia Gentileschi completed between 1611–12. The work shows an apocrypha scene from the Old Testament Book of Judith which details the delivery of Israel from the Assyrian general Holofernes. In this scene, Judith and her maidservant behead the general after he has fallen asleep drunk.', 1611, 159, 126, 'Oil on Canvas', 700, 800, 'http://www.google.com/culturalinstitute/asset-viewer/judith-and-holofernes/oQF3gDEYNkutBA?projectId=art-project', 'This large painting signed by the artist was in Palazzo Pitti in 1638 and was tranferred to the Uffizi in 1774. In 1635 the Artist thanked Galileo Galilei for having helped her obtain payment, most likely for this painting for Cosimo III who was an empassioned collector of caravaggesque paintings. Artemisia Gentilleschi was in Florence from 1613 to 1620 and completed several paintings for the Medici Court.', 'https://commons.wikimedia.org/wiki/File:Artemisia_Gentileschi_-_Giuditta_decapita_Oloferne_-_Google_Art_Project.jpg');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (441, 114, 4, '114020', 'Madonna Enthroned', 1, 'http://www.uffizi.firenze.it/catalogo/', '1890, 8343', 'Public domain', '<em>Madonna Enthroned</em>, also known as the Ognissanti Madonna, is a painting by the Italian late medieval artist Giotto di Bondone, housed in the Uffizi Gallery of Florence, Italy. It is generally dated to around 1310. The painting has a traditional Christian subject, representing the Virgin Mary and the Christ Child seated on her lap, with saints surrounding the two. It is celebrated often as the first painting of the Renaissance due to its newfound naturalism and escape from the constraints of Gothic art.', '<em>Madonna Enthroned</em>, also known as the Ognissanti Madonna, is a painting by the Italian late medieval artist Giotto di Bondone, housed in the Uffizi Gallery of Florence, Italy. It is generally dated to around 1310. The painting has a traditional Christian subject, representing the Virgin Mary and the Christ Child seated on her lap, with saints surrounding the two. It is celebrated often as the first painting of the Renaissance due to its newfound naturalism and escape from the constraints of Gothic art.', 1310, 325, 204, 'Tempura on Wood', 1500, 2000, 'https://www.google.com/culturalinstitute/beta/asset/the-ognissanti-madonna/OgE-RDjvff-y6g', 'The panel from 1306-10, ca. was originally placed on the old partition wall of the church of Ognissanti, officiated by the Umiliati friars before it was moved to their convent, at least by the end of the 17th century. In 1810, following the French suppression of convents, it was placed in the Accademia. It has been in the Uffizi since 1919.', 'https://en.wikipedia.org/wiki/Ognissanti_Madonna');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (442, 115, 5, '115010', 'Arnolfini Portrait', 1, 'https://www.nationalgallery.org.uk/paintings/jan-van-eyck-the-arnolfini-portrait', 'NG186', 'Creative Commons BY-NC-ND 4.0', '<em>The Arnolfini Portrait</em> is an oil painting on oak panel dated 1434 by the Early Netherlandish painter Jan van Eyck. The painting is a small full-length double portrait, which is believed to represent the Italian merchant Giovanni di Nicolao Arnolfini and possibly his wife, presumably in their home in the Flemish city of Bruges. It is considered one of the more original and complex paintings in Western art because of the iconography, the unusual geometric orthogonal perspective, the use of the mirror to reflect the space, and that the portrait is considered unique by some art historians as the record of a marriage contract in the form of a painting.', '<em>The Arnolfini Portrait</em> is an oil painting on oak panel dated 1434 by the Early Netherlandish painter Jan van Eyck. It is also known as The Arnolfini Wedding, The Arnolfini Marriage, The Arnolfini Double Portrait or the Portrait of Giovanni Arnolfini and his Wife, among other titles.', 1434, 82, 62, 'Oil on oak panel', 900, 1100, NULL, NULL, 'http://en.wikipedia.org/wiki/The_Arnolfini_Portrait');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (562, 135, 81, '135020', 'Madonna and Child', 2, 'http://pinacotecabrera.org/en/collezione-online/opere/madonna-and-child/', '298', 'Public domain', 'The Madonna and Child, dated 1510, is the latest of the works by Bellini in Brera. When he painted it, Bellini was around eighty and one of the most prestigious figures of the Venetian Renaissance, a sort of charismatic patriarch who, at the end of his career, showed that he was able to take in and guide a new direction in style.', 'The space of the picture is dominated by the monumental figure of the Virgin seated on a throne, wrapped in loose drapery that dilates the volume of her body in line with 15th-century schemes for construction of the image.', 1510, 115, 85, 'Oil on canvas', 900, 1100, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (563, 135, 70, '135030', 'Madonna and Child with St. John the Baptist', 1, 'http://collection.imamuseum.org/artwork/41175/', '2000.341', 'Public domain', NULL, NULL, 1500, 58, 76, 'Oil on wood', 700, 900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (564, 135, 18, '135040', 'Young Woman at Her Toilette', 2, 'https://www.khm.at/de/object/274ad4786c/', '97', 'Only for private use', ' The nude figure is integrated into a system of horizontal and vertical features. She is sitting on a bench that has been covered with a precious carpet, and behind her is a dark-green surface on which a mirror has been hung. On the left a view of a Venetian landscape gives the painting depth. By using the same colours in the principal motif and landscape, Bellini connects the two spheres, and the basic mood of the painting is gentle and unified. In her right hand the young woman is holding another mirror, which is a symbol of vanitas on the one hand and an attribute of Venus Pudica on the other. Using the device of two mirrors, Bellini enables the observer to see two views of the woman’s head from a single vantage point, a perspective possible only in painting.', 'Bellini\'s first female nude, painted when he was about 85 years old.', 1515, 78, 63, 'Oil on canvas', 700, 900, 'https://www.google.com/culturalinstitute/beta/asset/young-woman-at-her-toilette/dQE6qBYljWU39A?hl=en', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (565, 131, 81, '131040', 'View of St. Mark’s from the Punta della Dogana', 2, 'http://pinacotecabrera.org/en/collezione-online/opere/view-of-st-marks-from-the-punta-della-dogana/', '2236', 'Public domain', 'The View of St. Mark’s Basin came to Brera in 1828 with the View of the Grand Canal Looking toward the Punta della Dogana from Campo Sant’Ivo. They are subjects of which the artist was very fond, replicating them several times and varying the angle and breadth of the view: the two versions in Brera date from around 1740-45, i.e. the years immediately preceding Canaletto’s journey to England.', 'The View of St. Mark’s Basin came to Brera in 1828 with the View of the Grand Canal Looking toward the Punta della Dogana from Campo Sant’Ivo.', 1745, 70, 53, 'Oil on canvas', 700, 900, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (566, 136, 81, '136010', 'The Kiss', 1, 'http://pinacotecabrera.org/en/collezione-online/opere/the-kiss/', '6335', 'Public domain', 'It is one of the emblematic images of the Pinacoteca and perhaps the most widely reproduced Italian painting of the whole of the 19th century, created with the aim of symbolizing the love of the motherland and thirst for life on the part of the young nation that had emerged from the Second War of Independence and which now placed so many hopes in its new rulers. It proved an immediate and resounding success both for its patriotic values and for the medieval inspiration of the subject, typical of the Romantic taste of the time: Hayez painted other versions of it, now in various European collections.', 'It is one of the emblematic images of the Pinacoteca and perhaps the most widely reproduced Italian painting of the whole of the 19th century.', 1859, 88, 112, 'Oil on canvas', 800, 1000, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (567, 136, 81, '136020', 'Melancholy', 1, 'http://pinacotecabrera.org/en/collezione-online/opere/melancholy/', '6331', 'Public domain', 'The work, executed between 1840 and 1842, is full of erudite references to the Italian and European pictorial tradition: from reflections on the 16th-century painting of the Veneto exemplified by the treatment of the clothing, which echoes the textural effects of Savoldo and Titian, to the citation of Flemish still lifes.', 'The work, executed between 1840 and 1842, is full of erudite references to the Italian and European pictorial tradition.', 1842, 101, 138, 'Oil on canvas', 900, 1100, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (568, 137, 3, '137010', 'Abbey among Oak Trees', 2, 'http://www.smb-digital.de/eMuseumPlus?service=ExternalInterface&module=collection&objectId=968249&viewType=detailView', '8/85', 'Public domain', 'Abbey among Oak Trees is the companion piece to Monk by the Sea. Friedrich showed both paintings in the Berlin Academy Exhibition of 1810. In their perplexing remoteness and formal radicalism they were to become key works in German Romanticism.', 'Abbey among Oak Trees is the companion piece to Monk by the Sea. Friedrich showed both paintings in the Berlin Academy Exhibition of 1810.', 1810, 171, 110, 'Oil on canvas', 700, 900, 'https://www.google.com/culturalinstitute/beta/asset/abbey-among-oak-trees/UAEmmuxqtNUt-g', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (569, 137, 3, '137020', 'Man and Women Contemplating the Moon', 2, 'http://www.smb-digital.de/eMuseumPlus?service=ExternalInterface&module=collection&objectId=964081&viewType=detailView', 'II 887', 'Public domain', 'During a nighttime walk through a mountain forest a pair remains on a hill next to a dramatically stirring, uprooted oak. Darkness surrounds the hikers, their eyes are directed to the orb of the moon, whose light solemnly quiet fills the atmosphere.', 'During a nighttime walk through a mountain forest a pair remains on a hill next to a dramatically stirring, uprooted oak. Darkness surrounds the hikers, their eyes are directed to the orb of the moon, whose light solemnly quiet fills the atmosphere.', 1824, 44, 34, 'Oil on canvas', 700, 900, 'https://www.google.com/culturalinstitute/beta/asset/two-men-contemplating-the-moon/AQHW6lwY6LzX1Q', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (570, 137, 3, '137030', 'Moonrise over the Sea', 2, 'http://www.smb-digital.de/eMuseumPlus?service=ExternalInterface&module=collection&objectId=959550&viewType=detailView', '53', 'Public domain', 'Like its companion piece, the evening picture of the diptych was painted in 1822. In Moonrise on the Seashore Friedrich took up one of his favorite themes. In the reflected light of the night sky, it is as though the surface of the water begins to glow all of its own accord, taking up the light of heaven, as it were.', 'Like its companion piece, the evening picture of the diptych was painted in 1822.', 1822, 71, 55, 'Oil on canvas', 700, 900, 'https://www.google.com/culturalinstitute/beta/asset/moonrise-over-the-sea/mwFGGdzKbfGMkg', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (571, 138, 3, '138010', 'The Isle of the Dead', 2, 'http://www.smb-digital.de/eMuseumPlus?service=ExternalInterface&module=collection&objectId=967648&viewType=detailView', '2/80', 'Public domain', 'Arnold Böcklin spent the autumn of 1879 on Ischia. The Castello Alfonso, on a small island nearby, deeply impressed him during his stay. When the young, widowed Marie Berna visited Böcklin’s studio in Florence in 1880 and asked for a “picture to dream by,” the memory of that landscape must have merged with earlier memories of, for example, the islands of the dead like San Michele in Venice and Etruscan cliff-necropolises. The Isle of the Dead became one of Böcklin’s most popular pictorial works. He achieved this by combining a limited number of ideas into an impressive atmospheric composition. The motifs — island, water, and castle or vil-la by the sea — are already familiar from many of his earlier works. However, in this case they have been concentrated into a statement of the artist’s Weltanschauung. The location is sinister. The viewer’s gaze is led up the steps but can penetrate no further into the darkness. The island’s strict symmetry, the calm horizontals and verticals, the circular island surrounded by high cliff walls, and the magical lighting create an atmosphere that is both solemn and sublime, evoking a sense of stillness and other-worldliness. The ripple-less surface of the water and the boat bearing the coffin with a figure shrouded in white behind it add a melancholy tone to the whole.', 'The Isle of the Dead became one of Böcklin’s most popular pictorial works. He achieved this by combining a limited number of ideas into an impressive atmospheric composition.', 1883, 150, 80, 'Oil on canvas', 700, 900, 'https://www.google.com/culturalinstitute/beta/asset/the-isle-of-the-dead/0wFgMTIQ3kZCpg?hl=en', NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (572, 138, 3, '138020', 'The Deposition', 2, 'http://www.smb-digital.de/eMuseumPlus?service=ExternalInterface&module=collection&objectId=963112&viewType=detailView', 'I 827', 'Public domain', NULL, NULL, 1876, 250, 164, 'Oil on canvas', 900, 1100, NULL, NULL, NULL);
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (443, 116, 16, '116010', 'Portrait of the Artist Holding a Thistle', 1, 'http://www.louvre.fr/en/oeuvre-notices/self-portrait-or-portrait-artist-holding-thistle', 'R.F. 2382', '&copy; Musée du Louvre', '<em>Portrait of the Artist Holding a Thistle</em> is an oil painting on parchment pasted on canvas by German artist Albrecht Dürer, painted in 1493. It is the earliest of Dürer\'s painted self-portraits and has been identified as one of the first self-portraits painted by a Northern artist. The date, and the plant in the artist\'s hand, seem to suggest that this is a betrothal portrait.', '<em>Portrait of the Artist Holding a Thistle</em> is an oil painting on parchment pasted on canvas by German artist Albrecht Dürer, painted in 1493. It is the earliest of Dürer\'s painted self-portraits and has been identified as one of the first self-portraits painted by a Northern artist.', 1493, 57, 44, 'Oil on Wood', 600, 675, NULL, NULL, 'http://en.wikipedia.org/wiki/Portrait_of_the_Artist_Holding_a_Thistle_(Albrecht_D%C3%BCrer)');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (445, 117, 2, '117010', 'The Garden of Earthly Delights', 2, 'https://www.museodelprado.es/en/the-collection/art-work/the-garden-of-earthly-delights-triptych/02388242-6d6a-4e9e-a992-e1311eab3609', 'P02823', 'Private, personal, academic, research or educational', '<em>The Garden of Earthly Delights</em> is the modern title given to a triptych painted by the Early Netherlandish master Hieronymus Bosch. It has been housed in the Museo del Prado in Madrid since 1939. Dating from between 1490 and 1510, when Bosch was between about 40 and 60 years old, it is his best-known and most ambitious complete work. It reveals the artist at the height of his powers; in no other painting does he achieve such complexity of meaning or such vivid imagery.', '<em>The Garden of Earthly Delights</em> is the modern title given to a triptych painted by the Early Netherlandish master Hieronymus Bosch. It is his best-known and most ambitious complete work. It reveals the artist at the height of his powers; in no other painting does he achieve such complexity of meaning or such vivid imagery.', 1490, 220, 390, 'Oil on panel', 1400, 1600, 'https://www.google.com/culturalinstitute/beta/asset/the-garden-of-earthly-delights/EwHP5mUuUOzqVg', NULL, 'http://en.wikipedia.org/wiki/The_Garden_of_Earthly_Delights');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (448, 118, 18, '118030', 'The Peasant Wedding', 2, 'https://www.khm.at/de/object/fe73f687e5/', '1027', 'Only for private use', '<em>The Peasant Wedding</em> is a 1567 painting by the Flemish Renaissance painter and printmaker Pieter Bruegel the Elder, one of his many depicting peasant life. It is currently housed in the Kunsthistorisches Museum, Vienna.', '<em>The Peasant Wedding</em> is a 1567 painting by the Flemish Renaissance painter and printmaker Pieter Bruegel the Elder, one of his many depicting peasant life. It is currently housed in the Kunsthistorisches Museum, Vienna.', 1567, 124, 164, 'Oil on Panel', 500, 600, 'http://www.google.com/culturalinstitute/asset-viewer/peasant-wedding/hgGvote2WI8P3w?projectId=art-project', NULL, 'http://en.wikipedia.org/wiki/The_Peasant_Wedding');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (450, 120, 4, '120010', 'Portrait of Eleanor of Toledo', 1, 'http://www.uffizi.firenze.it/catalogo/', '1890, 748', 'Public domain', '<em>The Portrait of Eleanor of Toledo and Her Son</em> is a painting by the Italian artist Agnolo di Cosimo, known as Bronzino, finished ca. 1545. One of his most famous works, it is housed in the Uffizi Gallery of Florence, Italy and is considered one of the preeminent examples of Mannerist portraiture. The painting depicts Eleanor of Toledo, the wife of Cosimo I de\' Medici, Grand Duke of Tuscany, sitting with her hand resting on the shoulder of one of her sons. This gesture, as well as the pomegranate motif on her dress, referred to her role as mother. Eleanor wears a heavily brocaded dress with black arabesques. In this pose, she is depicted as the ideal woman of the Renaissance.', '<em>The Portrait of Eleanor of Toledo and Her Son</em> is a painting by the Italian artist Agnolo di Cosimo, known as Bronzino, finished ca. 1545. One of his most famous works, it is housed in the Uffizi Gallery of Florence, Italy and is considered one of the preeminent examples of Mannerist portraiture.', 1545, 115, 96, 'Oil on Panel', 675, 850, 'https://www.google.com/culturalinstitute/beta/asset/portrait-of-eleonora-di-toledo-with-her-son-giovanni/QAEccCsLDtbB4A', 'This precious painting, documented by Vasari, depicts the Dutchess of Florence, Eleonora di Toledo, with her little son Giovanni. It was painted in 1545 by Bronzino, who was a student of Pontormo and the court portrait artist of the Medici. In spite of the official nature of the portrait, seen through the very refined clothing and the splendor of the jewelry, Bronzino joins the figures of the mother and child in an affectionate pose creating one of the masterpieces of European Portraiture of the 16th century. The painting has been in the Tribune since 1620.', 'http://en.wikipedia.org/wiki/Portrait_of_Eleanor_of_Toledo');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (451, 120, 5, '120020', 'Venus, Cupid, Folly and Time', 1, 'https://www.nationalgallery.org.uk/paintings/bronzino-an-allegory-with-venus-and-cupid', 'NG651', 'Creative Commons BY-NC-ND 4.0', '<em>Venus, Cupid, Folly, and Time</em> is an allegorical painting by the Florentine artist Agnolo Bronzino. It is now in the National Gallery, London.', '<em>Venus, Cupid, Folly, and Time</em> is an allegorical painting by the Florentine artist Agnolo Bronzino. It is now in the National Gallery, London.', 1545, 146, 116, 'Oil on Wood', 800, 900, NULL, NULL, 'http://en.wikipedia.org/wiki/Venus,_Cupid,_Folly,_and_Time');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (453, 121, 6, '121020', 'View of Toledo', 1, 'http://www.metmuseum.org/art/collection/search/436575', '29.100.6', 'Open Access for Scholarly Content', '<em>View of Toledo</em>, is one of the two surviving landscapes painted by El Greco. The other, called View and Plan of Toledo lies at Museo Del Greco, Toledo, Spain. Along with Vincent van Gogh\'s The Starry Night, some landscapes by William Turner, and some works by Monet, it is among the best known depictions of the sky in Western art, and features sharp color contrast between the sky and the hills below. Painted in a Mannerist (or Baroque) style, the work takes liberties with the actual layout of Toledo (some buildings are depicted in different positions than their actual location, but truthfully depicts on the side the Castle of San Servando).', '<em>View of Toledo</em>, is one of the two surviving landscapes painted by El Greco. The other, called View and Plan of Toledo lies at Museo Del Greco, Toledo, Spain. Along with Vincent van Gogh\'s The Starry Night, some landscapes by William Turner, and some works by Monet, it is among the best known depictions of the sky in Western art.', 1600, 121, 108, 'Oil on canvas', 700, 800, 'http://www.google.com/culturalinstitute/asset-viewer/view-of-toledo/LQEbD5GpU4Q65Q?projectId=art-project', NULL, 'http://en.wikipedia.org/wiki/View_of_Toledo');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (455, 123, 30, '123010', 'Portrait of a Couple, Probably Isaac Abrahamsz Massa and Beatrix van der Laen', 2, 'http://hdl.handle.net/10934/RM0001.COLLECT.8608', 'SK-A-133', 'Public domain', 'This happy, smiling pair sits comfortably close to each other. Posing a couple together in this way was highly unusual at the time. It may have been prompted by the sitters’ friendship with the painter and the occasion for the commission – their marriage in April 1622. The painting thus contains references to love and devotion, such as the garden of love at right, and at left an eryngium thistle, known in Dutch as ‘mannentrouw’, or male fidelity.', 'This happy, smiling pair sits comfortably close to each other. Posing a couple together in this way was highly unusual at the time.', 1622, 140, 166, 'Oil on canvas', 700, 900, NULL, 'This is probably the marriage portrait of Isaac Abrahamsz Massa and Beatrix van der Laen, c. 1622. The Haarlem merchant Isaac Massa (1586-1643) and Beatrix van der Laen (1592-1639), the daughter of a former burgomaster, had their portraits painted on the occasion of their marriage, 25 April 1622. Her wedding-ring, worn on the right index finger, according to the custom of the day, is prominently displayed. Frans Hals has incorporated various symbols of love into the painting. For example, the spear thistle on the left is also known as \'man\'s fidelity\'. The ivy at the bride\'s feet also signifies faithfulness: the woman clings to her husband just as ivy clings to a wall. The vine twisting itself around the tree has a similar connotation.', 'https://en.wikipedia.org/wiki/Marriage_Portrait_of_Isaac_Massa_and_Beatrix_van_der_Laen');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (456, 123, 30, '123020', 'Portrait of Feyntje van Steenkiste', 1, 'http://hdl.handle.net/10934/RM0001.COLLECT.8611', 'SK-C-557', 'Public domain', 'This pendant portrays the wife of Lucas de Clercq. Spouses were customarily depicted separately, the husband on the left and the wife on the right, both turned towards each other. The light almost always came from the left, illuminating the face of the woman evenly, and casting striking shadows on that of the man. Hals portrayed the woman – as was usual – in a more static pose than that of the man.', 'This pendant portrays the wife of Lucas de Clercq', 1635, 123, 93, 'Oil on canvas', 700, 800, NULL, NULL, 'https://en.wikipedia.org/wiki/Feyntje_Steenkiste');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (457, 123, 30, '123030', 'Portrait of Lucas de Clercq', 1, 'http://hdl.handle.net/10934/RM0001.COLLECT.8612', 'SK-C-556', 'Public domain', 'Frans Hals, like no other, was able to bring his sitters to life. In this portrait, the Haarlem merchant Lucas de Clercq is shown with his left arm akimbo and his right arm resting on his stomach. Even though his hands are hidden and still, his vitality is expressed in the animated contour of his body and his slightly turned head.', ' In this portrait, the Haarlem merchant Lucas de Clercq is shown with his left arm akimbo and his right arm resting on his stomach.', 1635, 126, 93, 'Oil on canvas', 700, 800, 'https://www.google.com/culturalinstitute/beta/asset/portrait-of-lucas-de-clercq/CwGkOpgoJLk5cQ', NULL, 'https://commons.wikimedia.org/wiki/File:Frans_Hals_-_Lucas_de_Clercq_-_WGA11125.jpg');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (458, 123, 30, '123040', 'Portrait of Maritge Claesdr Vooght', 1, 'http://hdl.handle.net/10934/RM0001.COLLECT.8688', 'SK-C-139', 'Public domain', 'Frans Hals painted a large number of superb likenesses of members of Haarlem’s upper class: he clearly knew how to satisfy the demands of his eminent patrons. Maritge Vooght, wife of the mayor Pieter Olycan, is here portrayed in a traditional pose, proudly sitting upright and looking straight out at the viewer. Hals noted her age, 62, at left. Her coat of arms was added later by a different hand.', 'Maritge Vooght, wife of the mayor Pieter Olycan, is here portrayed in a traditional pose, proudly sitting upright and looking straight out at the viewer.', 1639, 128, 94, 'Oil on canvas', 700, 800, NULL, NULL, 'https://en.wikipedia.org/wiki/Maritge_Claesdr._Voogt');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (459, 123, 30, '123050', 'Portrait of a Woman', 3, 'http://hdl.handle.net/10934/RM0001.COLLECT.8607', 'SK-A-1247', 'Public domain', 'Compared with the dynamic Portrait of a Man, this one of his wife makes a somewhat more formal impression. The pose is traditional, with the upper torso turned slightly to the left. She looks straight at the viewer, her lips slightly parted as though she is about to speak. Her face is rendered in much thinner paint than that of her husband, beautifully suggesting the greater softness of a woman’s skin.', 'The pose is traditional, with the upper torso turned slightly to the left. She looks straight at the viewer, her lips slightly parted as though she is about to speak', 1635, 79, 66, 'Oil on canvas', 700, 800, 'https://www.google.com/culturalinstitute/beta/asset/portrait-of-a-woman/XwGjG4Da87WLzQ', NULL, 'https://en.wikipedia.org/wiki/Sara_Wolphaerts_van_Diemen');
INSERT INTO `Paintings` (`PaintingID`, `ArtistID`, `GalleryID`, `ImageFileName`, `Title`, `ShapeID`, `MuseumLink`, `AccessionNumber`, `CopyrightText`, `Description`, `Excerpt`, `YearOfWork`, `Width`, `Height`, `Medium`, `Cost`, `MSRP`, `GoogleLink`, `GoogleDescription`, `WikiLink`) VALUES (460, 123, 30, '123060', 'A Militiaman Holding a Berkemeyer', 3, 'http://hdl.handle.net/10934/RM0001.COLLECT.8609', 'SK-A-135', 'Public domain', 'This militiaman merrily raises his glass to toast us – who would not wish to join him? The execution is just as free and easy as the sitter himself: the swift, spontaneously applied brushstrokes enhance the portrait’s sense of liveliness and animation. The man actually seems to be moving. This bravura painting style ensured the continued success of Frans Hals.', ' The execution is just as free and easy as the sitter himself: the swift, spontaneously applied brushstrokes enhance the portrait’s sense of liveliness and animation', 1629, 81, 66, 'Oil on canvas', 800, 900, 'https://www.google.com/culturalinstitute/beta/asset/a-militiaman-holding-a-berkemeyer-known-as-the-merry-drinker/EgGWR2aHD9M7aA', 'This cheery young man is raising his glass as if to propose a toast. Although the fashion was then for intricate, detailed paintings, Hals applied his paints with quick, confident strokes. This style of painting gives the subject a real sense of movement. This is most obvious with the right hand.', NULL);
