Ginevra de' Benci

Prompt: Wie wird die Trivia in Ginevra de' Benci diskutiert?Bitte auf Englisch ausgeben.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490

As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo Landino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself.According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni.Ginevra's brother Giovanni (1456–1523) was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son.In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty Latin sentences signed VINCI, formed with the very same alphabetical letters of the motto VIRTVTEM FORMA DECORAT when supplemented with the Latin word iuniperus (juniper [sprig]). Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.


Benois Madonna

Prompt: Fokussiere dich auf Benois Madonna und erkunde erkläre die abstract.Bitte auf Englisch ausgeben.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci

The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed c. 1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.


Benois Madonna

Prompt: ErkundeErkläre die abstract dieses Kunstwerks, Benois Madonna.Bitte auf Englisch ausgeben.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci

The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed c. 1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.


Benois Madonna

Prompt: Wie erläutert Benois Madonna seine abstract?Bitte auf Englisch ausgeben.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci

The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed c. 1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.


Benois Madonna

Prompt: Wie wird die abstract in Benois Madonna diskutiert?Bitte auf Englisch ausgeben.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci

The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed c. 1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.


Benois Madonna

Prompt: Fokussiere dich auf Benois Madonna und erkunde erkläre die Geschichte.Bitte auf Englisch ausgeben.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur Aleksei Ivanovich Korsakov (1751–1821) in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov (1827–1887). Finally, when his daughter Maria Sapozhnikova (1858–1938) married the architect Leon Benois (1856–1928), the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:One unhappy day I was called to see the 'Benois Madonna'. I found myself confronted by a young woman with a bald forehead and puffed cheeks, a toothless smile, blear eyes, and a furrowed throat. The uncanny, anile apparition plays with a child who looks like a hollow mask fixed on inflated body and limbs. The hands are wretched, the folds purposeless and fussy, the color like whey. And yet I had to acknowledge that this painful affair was the work of Leonardo da Vinci. It was hard, but the effort freed me, and the indignation I felt gave me the resolution to proclaim my freedom.Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.


Benois Madonna

Prompt: ErkundeErkläre die Geschichte dieses Kunstwerks, Benois Madonna.Bitte auf Englisch ausgeben.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur Aleksei Ivanovich Korsakov (1751–1821) in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov (1827–1887). Finally, when his daughter Maria Sapozhnikova (1858–1938) married the architect Leon Benois (1856–1928), the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:One unhappy day I was called to see the 'Benois Madonna'. I found myself confronted by a young woman with a bald forehead and puffed cheeks, a toothless smile, blear eyes, and a furrowed throat. The uncanny, anile apparition plays with a child who looks like a hollow mask fixed on inflated body and limbs. The hands are wretched, the folds purposeless and fussy, the color like whey. And yet I had to acknowledge that this painful affair was the work of Leonardo da Vinci. It was hard, but the effort freed me, and the indignation I felt gave me the resolution to proclaim my freedom.Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.


Benois Madonna

Prompt: Wie erläutert Benois Madonna seine Geschichte?Bitte auf Englisch ausgeben.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur Aleksei Ivanovich Korsakov (1751–1821) in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov (1827–1887). Finally, when his daughter Maria Sapozhnikova (1858–1938) married the architect Leon Benois (1856–1928), the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:One unhappy day I was called to see the 'Benois Madonna'. I found myself confronted by a young woman with a bald forehead and puffed cheeks, a toothless smile, blear eyes, and a furrowed throat. The uncanny, anile apparition plays with a child who looks like a hollow mask fixed on inflated body and limbs. The hands are wretched, the folds purposeless and fussy, the color like whey. And yet I had to acknowledge that this painful affair was the work of Leonardo da Vinci. It was hard, but the effort freed me, and the indignation I felt gave me the resolution to proclaim my freedom.Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.


Benois Madonna

Prompt: Wie wird die Geschichte in Benois Madonna diskutiert?Bitte auf Englisch ausgeben.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur Aleksei Ivanovich Korsakov (1751–1821) in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov (1827–1887). Finally, when his daughter Maria Sapozhnikova (1858–1938) married the architect Leon Benois (1856–1928), the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:One unhappy day I was called to see the 'Benois Madonna'. I found myself confronted by a young woman with a bald forehead and puffed cheeks, a toothless smile, blear eyes, and a furrowed throat. The uncanny, anile apparition plays with a child who looks like a hollow mask fixed on inflated body and limbs. The hands are wretched, the folds purposeless and fussy, the color like whey. And yet I had to acknowledge that this painful affair was the work of Leonardo da Vinci. It was hard, but the effort freed me, and the indignation I felt gave me the resolution to proclaim my freedom.Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.


Benois Madonna

Prompt: Fokussiere dich auf Benois Madonna und erkunde erkläre die Beschreibung und Interpretation.Bitte auf Englisch ausgeben.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci

This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.In Renaissance Florence, artistic portrayals of the Madonna often used Christian symbolism to suggest foreknowledge of the Crucifixion — for example, the goldfinch plucking Christ’s thorns from his crown. For the Benois Madonna, the symbol is a flowering sprig, in the form of a crucifix, held by the Virgin. As Feinberg (2011) suggests, in the Benois Madonna Leonardo attempted to rationalize between the mysteries of 'sight' and 'insight': "The child of the Benois Madonna has still not responded to the distinctly cruciform shape of the flower [...] because he cannot see it clearly. Once that happens, the child's hazy curiosity could [...] lead to foresight of his sacrifice". Notwithstanding its solemn motif, the painting represents one of the "most joyous and youthful depiction of Mary in Renaissance art ... she seems to be speaking or laughing, playfully engaged with her child, her radiant vitality accentuated through Leonardo’s deliberate complications of posture and drapery".


Benois Madonna

Prompt: ErkundeErkläre die Beschreibung und Interpretation dieses Kunstwerks, Benois Madonna.Bitte auf Englisch ausgeben.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci

This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.In Renaissance Florence, artistic portrayals of the Madonna often used Christian symbolism to suggest foreknowledge of the Crucifixion — for example, the goldfinch plucking Christ’s thorns from his crown. For the Benois Madonna, the symbol is a flowering sprig, in the form of a crucifix, held by the Virgin. As Feinberg (2011) suggests, in the Benois Madonna Leonardo attempted to rationalize between the mysteries of 'sight' and 'insight': "The child of the Benois Madonna has still not responded to the distinctly cruciform shape of the flower [...] because he cannot see it clearly. Once that happens, the child's hazy curiosity could [...] lead to foresight of his sacrifice". Notwithstanding its solemn motif, the painting represents one of the "most joyous and youthful depiction of Mary in Renaissance art ... she seems to be speaking or laughing, playfully engaged with her child, her radiant vitality accentuated through Leonardo’s deliberate complications of posture and drapery".


Benois Madonna

Prompt: Wie erläutert Benois Madonna seine Beschreibung und Interpretation?Bitte auf Englisch ausgeben.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci

This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.In Renaissance Florence, artistic portrayals of the Madonna often used Christian symbolism to suggest foreknowledge of the Crucifixion — for example, the goldfinch plucking Christ’s thorns from his crown. For the Benois Madonna, the symbol is a flowering sprig, in the form of a crucifix, held by the Virgin. As Feinberg (2011) suggests, in the Benois Madonna Leonardo attempted to rationalize between the mysteries of 'sight' and 'insight': "The child of the Benois Madonna has still not responded to the distinctly cruciform shape of the flower [...] because he cannot see it clearly. Once that happens, the child's hazy curiosity could [...] lead to foresight of his sacrifice". Notwithstanding its solemn motif, the painting represents one of the "most joyous and youthful depiction of Mary in Renaissance art ... she seems to be speaking or laughing, playfully engaged with her child, her radiant vitality accentuated through Leonardo’s deliberate complications of posture and drapery".


Benois Madonna

Prompt: Wie wird die Beschreibung und Interpretation in Benois Madonna diskutiert?Bitte auf Englisch ausgeben.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci

This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.In Renaissance Florence, artistic portrayals of the Madonna often used Christian symbolism to suggest foreknowledge of the Crucifixion — for example, the goldfinch plucking Christ’s thorns from his crown. For the Benois Madonna, the symbol is a flowering sprig, in the form of a crucifix, held by the Virgin. As Feinberg (2011) suggests, in the Benois Madonna Leonardo attempted to rationalize between the mysteries of 'sight' and 'insight': "The child of the Benois Madonna has still not responded to the distinctly cruciform shape of the flower [...] because he cannot see it clearly. Once that happens, the child's hazy curiosity could [...] lead to foresight of his sacrifice". Notwithstanding its solemn motif, the painting represents one of the "most joyous and youthful depiction of Mary in Renaissance art ... she seems to be speaking or laughing, playfully engaged with her child, her radiant vitality accentuated through Leonardo’s deliberate complications of posture and drapery".


Chimäre von Arezzo

Prompt: Fokussiere dich auf Chimäre von Arezzo und erkunde erkläre die abstract.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as "one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting".  Made entirely of bronze and measuring 78.5 cm high with a length of 129 cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.


Chimäre von Arezzo

Prompt: ErkundeErkläre die abstract dieses Kunstwerks, Chimäre von Arezzo.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as "one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting".  Made entirely of bronze and measuring 78.5 cm high with a length of 129 cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.


Chimäre von Arezzo

Prompt: Wie erläutert Chimäre von Arezzo seine abstract?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as "one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting".  Made entirely of bronze and measuring 78.5 cm high with a length of 129 cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.


Chimäre von Arezzo

Prompt: Wie wird die abstract in Chimäre von Arezzo diskutiert?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as "one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting".  Made entirely of bronze and measuring 78.5 cm high with a length of 129 cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.


Chimäre von Arezzo

Prompt: Fokussiere dich auf Chimäre von Arezzo und erkunde erkläre die Geschichte.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

According to Greek mythology, the Chimera or "She-Goat" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.The first known literary reference was in Homer's Iliad and the epic poetry of Hesiod of the 8th century BCE also mentions the Chimera.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:Yes, sir, because there are the medals of the Duke my lord who came from Rome with a goat's head stuck in the neck of this lion, who as he sees VE, also has the serpent's belly, and we found the queue that was broken between those bronze fragments with many metal figurines that you've seen all, and the wounds that she has touched on show it, and yet the pain that is known in the readiness of the head of this animal ...The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori (or his teacher, Innocenzo Spinazzi) fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read tinscvil "Offering belonging to Tinia". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.


Chimäre von Arezzo

Prompt: ErkundeErkläre die Geschichte dieses Kunstwerks, Chimäre von Arezzo.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

According to Greek mythology, the Chimera or "She-Goat" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.The first known literary reference was in Homer's Iliad and the epic poetry of Hesiod of the 8th century BCE also mentions the Chimera.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:Yes, sir, because there are the medals of the Duke my lord who came from Rome with a goat's head stuck in the neck of this lion, who as he sees VE, also has the serpent's belly, and we found the queue that was broken between those bronze fragments with many metal figurines that you've seen all, and the wounds that she has touched on show it, and yet the pain that is known in the readiness of the head of this animal ...The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori (or his teacher, Innocenzo Spinazzi) fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read tinscvil "Offering belonging to Tinia". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.


Chimäre von Arezzo

Prompt: Wie erläutert Chimäre von Arezzo seine Geschichte?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

According to Greek mythology, the Chimera or "She-Goat" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.The first known literary reference was in Homer's Iliad and the epic poetry of Hesiod of the 8th century BCE also mentions the Chimera.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:Yes, sir, because there are the medals of the Duke my lord who came from Rome with a goat's head stuck in the neck of this lion, who as he sees VE, also has the serpent's belly, and we found the queue that was broken between those bronze fragments with many metal figurines that you've seen all, and the wounds that she has touched on show it, and yet the pain that is known in the readiness of the head of this animal ...The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori (or his teacher, Innocenzo Spinazzi) fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read tinscvil "Offering belonging to Tinia". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.


Chimäre von Arezzo

Prompt: Wie wird die Geschichte in Chimäre von Arezzo diskutiert?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

According to Greek mythology, the Chimera or "She-Goat" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.The first known literary reference was in Homer's Iliad and the epic poetry of Hesiod of the 8th century BCE also mentions the Chimera.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:Yes, sir, because there are the medals of the Duke my lord who came from Rome with a goat's head stuck in the neck of this lion, who as he sees VE, also has the serpent's belly, and we found the queue that was broken between those bronze fragments with many metal figurines that you've seen all, and the wounds that she has touched on show it, and yet the pain that is known in the readiness of the head of this animal ...The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori (or his teacher, Innocenzo Spinazzi) fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read tinscvil "Offering belonging to Tinia". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.


Chimäre von Arezzo

Prompt: Im Kontext von Chimäre von Arezzo, erkunde erkläre die Die Entdeckung und die Geschichte.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo (ancient Arretium), the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater featuring an image of the Chimera, thus accurately identifying it. Eventually, it was officially identified as being a part of a larger piece illustrating a fight between the Chimera and the Greek hero Bellerophon. The sculpture was found among other small pieces that served as votive offerings to the God Tinia. This sculpture may also have served as an Etruscan religious dedication. After discovery, it began its residence in Florence, where it was moved to the Uffizi Palace in 1718. Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.


Chimäre von Arezzo

Prompt: Erkunde Erkläre die Die Entdeckung über die Geschichte dieses Kunstwerks, Chimäre von Arezzo.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo (ancient Arretium), the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater featuring an image of the Chimera, thus accurately identifying it. Eventually, it was officially identified as being a part of a larger piece illustrating a fight between the Chimera and the Greek hero Bellerophon. The sculpture was found among other small pieces that served as votive offerings to the God Tinia. This sculpture may also have served as an Etruscan religious dedication. After discovery, it began its residence in Florence, where it was moved to the Uffizi Palace in 1718. Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.


Chimäre von Arezzo

Prompt: In Chimäre von Arezzo, wie wird die Die Entdeckung der Geschichte erläutert?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo (ancient Arretium), the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater featuring an image of the Chimera, thus accurately identifying it. Eventually, it was officially identified as being a part of a larger piece illustrating a fight between the Chimera and the Greek hero Bellerophon. The sculpture was found among other small pieces that served as votive offerings to the God Tinia. This sculpture may also have served as an Etruscan religious dedication. After discovery, it began its residence in Florence, where it was moved to the Uffizi Palace in 1718. Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.


Chimäre von Arezzo

Prompt: Beschreibe die Merkmale der Die Entdeckung in  der Chimäre von Arezzo's Geschichte von Chimäre von Arezzo.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo (ancient Arretium), the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater featuring an image of the Chimera, thus accurately identifying it. Eventually, it was officially identified as being a part of a larger piece illustrating a fight between the Chimera and the Greek hero Bellerophon. The sculpture was found among other small pieces that served as votive offerings to the God Tinia. This sculpture may also have served as an Etruscan religious dedication. After discovery, it began its residence in Florence, where it was moved to the Uffizi Palace in 1718. Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.


Chimäre von Arezzo

Prompt: Fokussiere dich auf Chimäre von Arezzo und erkunde erkläre die Ikonographie.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE. The Chimera of Arezzo presents a very detailed and complex composition that most likely was meant for display and viewing in the round. The Chimera is clearly expressing pain throughout its body. Its form is contorted, its face and mouth open in outrage as it is struck by Bellerophon. Similar to Hellenistic sculpture, the Chimera's form and body language express movement as well as the clear tension and power of the beast's musculature and evoke in the viewer a feeling of deep emotional pain and interest in the contemplation of that movement. Clearly influenced by Mediterranean myth culture, this bronze work is evidence of the mastery that Etruscan sculptors had not only over the medium but of mythological lore. The art historian A. Maggiani gives details of a clear Italiote context by pointing out iconographic comparisons from sites in Magna Graecia such as Metaponto and Kaulonia. (Italiote refers to a pre–Roman Empire Greek-speaking population in southern Italy; Magna Graecia refers to the Greek colonies which were established in southern Italy from the 8th century BCE onwards.) With the Italiote context in mind, these trends are a clear indication of the increasing popularity of Attic (from Attica) or Athens-inspired architecture and sculpture. Ancient Athenians regarded themselves among the highest of society. Their art, religion, and culture was seen as the epitome of Greek achievement. While the ancient Athenians had long since perished by this time, their work and way of life were still regarded with great fascination and there was a desire to emulate it. Historians have generally come to a consensus that the Chimera of Arezzo was produced by Italiote craftsmen in the last decades of the fifth century BCE or in the beginning of the fourth century BCE. The fact that this sculpture was a votive offering to Tinia is a reminder of the wealth and sophistication of Etruscan elites.


Chimäre von Arezzo

Prompt: ErkundeErkläre die Ikonographie dieses Kunstwerks, Chimäre von Arezzo.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE. The Chimera of Arezzo presents a very detailed and complex composition that most likely was meant for display and viewing in the round. The Chimera is clearly expressing pain throughout its body. Its form is contorted, its face and mouth open in outrage as it is struck by Bellerophon. Similar to Hellenistic sculpture, the Chimera's form and body language express movement as well as the clear tension and power of the beast's musculature and evoke in the viewer a feeling of deep emotional pain and interest in the contemplation of that movement. Clearly influenced by Mediterranean myth culture, this bronze work is evidence of the mastery that Etruscan sculptors had not only over the medium but of mythological lore. The art historian A. Maggiani gives details of a clear Italiote context by pointing out iconographic comparisons from sites in Magna Graecia such as Metaponto and Kaulonia. (Italiote refers to a pre–Roman Empire Greek-speaking population in southern Italy; Magna Graecia refers to the Greek colonies which were established in southern Italy from the 8th century BCE onwards.) With the Italiote context in mind, these trends are a clear indication of the increasing popularity of Attic (from Attica) or Athens-inspired architecture and sculpture. Ancient Athenians regarded themselves among the highest of society. Their art, religion, and culture was seen as the epitome of Greek achievement. While the ancient Athenians had long since perished by this time, their work and way of life were still regarded with great fascination and there was a desire to emulate it. Historians have generally come to a consensus that the Chimera of Arezzo was produced by Italiote craftsmen in the last decades of the fifth century BCE or in the beginning of the fourth century BCE. The fact that this sculpture was a votive offering to Tinia is a reminder of the wealth and sophistication of Etruscan elites.


Chimäre von Arezzo

Prompt: Wie erläutert Chimäre von Arezzo seine Ikonographie?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE. The Chimera of Arezzo presents a very detailed and complex composition that most likely was meant for display and viewing in the round. The Chimera is clearly expressing pain throughout its body. Its form is contorted, its face and mouth open in outrage as it is struck by Bellerophon. Similar to Hellenistic sculpture, the Chimera's form and body language express movement as well as the clear tension and power of the beast's musculature and evoke in the viewer a feeling of deep emotional pain and interest in the contemplation of that movement. Clearly influenced by Mediterranean myth culture, this bronze work is evidence of the mastery that Etruscan sculptors had not only over the medium but of mythological lore. The art historian A. Maggiani gives details of a clear Italiote context by pointing out iconographic comparisons from sites in Magna Graecia such as Metaponto and Kaulonia. (Italiote refers to a pre–Roman Empire Greek-speaking population in southern Italy; Magna Graecia refers to the Greek colonies which were established in southern Italy from the 8th century BCE onwards.) With the Italiote context in mind, these trends are a clear indication of the increasing popularity of Attic (from Attica) or Athens-inspired architecture and sculpture. Ancient Athenians regarded themselves among the highest of society. Their art, religion, and culture was seen as the epitome of Greek achievement. While the ancient Athenians had long since perished by this time, their work and way of life were still regarded with great fascination and there was a desire to emulate it. Historians have generally come to a consensus that the Chimera of Arezzo was produced by Italiote craftsmen in the last decades of the fifth century BCE or in the beginning of the fourth century BCE. The fact that this sculpture was a votive offering to Tinia is a reminder of the wealth and sophistication of Etruscan elites.


Chimäre von Arezzo

Prompt: Wie wird die Ikonographie in Chimäre von Arezzo diskutiert?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE. The Chimera of Arezzo presents a very detailed and complex composition that most likely was meant for display and viewing in the round. The Chimera is clearly expressing pain throughout its body. Its form is contorted, its face and mouth open in outrage as it is struck by Bellerophon. Similar to Hellenistic sculpture, the Chimera's form and body language express movement as well as the clear tension and power of the beast's musculature and evoke in the viewer a feeling of deep emotional pain and interest in the contemplation of that movement. Clearly influenced by Mediterranean myth culture, this bronze work is evidence of the mastery that Etruscan sculptors had not only over the medium but of mythological lore. The art historian A. Maggiani gives details of a clear Italiote context by pointing out iconographic comparisons from sites in Magna Graecia such as Metaponto and Kaulonia. (Italiote refers to a pre–Roman Empire Greek-speaking population in southern Italy; Magna Graecia refers to the Greek colonies which were established in southern Italy from the 8th century BCE onwards.) With the Italiote context in mind, these trends are a clear indication of the increasing popularity of Attic (from Attica) or Athens-inspired architecture and sculpture. Ancient Athenians regarded themselves among the highest of society. Their art, religion, and culture was seen as the epitome of Greek achievement. While the ancient Athenians had long since perished by this time, their work and way of life were still regarded with great fascination and there was a desire to emulate it. Historians have generally come to a consensus that the Chimera of Arezzo was produced by Italiote craftsmen in the last decades of the fifth century BCE or in the beginning of the fourth century BCE. The fact that this sculpture was a votive offering to Tinia is a reminder of the wealth and sophistication of Etruscan elites.


Chimäre von Arezzo

Prompt: Fokussiere dich auf Chimäre von Arezzo und erkunde erkläre die Methoden und Materialien.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton (literally, "hammer-driven"). Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period (c. 500–480 BCE) sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.


Chimäre von Arezzo

Prompt: ErkundeErkläre die Methoden und Materialien dieses Kunstwerks, Chimäre von Arezzo.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton (literally, "hammer-driven"). Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period (c. 500–480 BCE) sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.


Chimäre von Arezzo

Prompt: Wie erläutert Chimäre von Arezzo seine Methoden und Materialien?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton (literally, "hammer-driven"). Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period (c. 500–480 BCE) sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.


Chimäre von Arezzo

Prompt: Wie wird die Methoden und Materialien in Chimäre von Arezzo diskutiert?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton (literally, "hammer-driven"). Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period (c. 500–480 BCE) sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.


Chimäre von Arezzo

Prompt: Fokussiere dich auf Chimäre von Arezzo und erkunde erkläre die Ausstellungen.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

September 15, 2012 – December 9, 2012 at the Royal Academy of Arts "Bronze"   July 16, 2009 – February 8, 2010 at the Getty Villa


Chimäre von Arezzo

Prompt: ErkundeErkläre die Ausstellungen dieses Kunstwerks, Chimäre von Arezzo.Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

September 15, 2012 – December 9, 2012 at the Royal Academy of Arts "Bronze"   July 16, 2009 – February 8, 2010 at the Getty Villa


Chimäre von Arezzo

Prompt: Wie erläutert Chimäre von Arezzo seine Ausstellungen?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

September 15, 2012 – December 9, 2012 at the Royal Academy of Arts "Bronze"   July 16, 2009 – February 8, 2010 at the Getty Villa


Chimäre von Arezzo

Prompt: Wie wird die Ausstellungen in Chimäre von Arezzo diskutiert?Bitte auf Englisch ausgeben.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany

September 15, 2012 – December 9, 2012 at the Royal Academy of Arts "Bronze"   July 16, 2009 – February 8, 2010 at the Getty Villa


Die drei Philosophen

Prompt: Fokussiere dich auf Die drei Philosophen und erkunde erkläre die abstract.Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a "new infrared reflectogram lends no support to the theory".


Die drei Philosophen

Prompt: ErkundeErkläre die abstract dieses Kunstwerks, Die drei Philosophen.Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a "new infrared reflectogram lends no support to the theory".


Die drei Philosophen

Prompt: Wie erläutert Die drei Philosophen seine abstract?Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a "new infrared reflectogram lends no support to the theory".


Die drei Philosophen

Prompt: Wie wird die abstract in Die drei Philosophen diskutiert?Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a "new infrared reflectogram lends no support to the theory".


Die drei Philosophen

Prompt: Fokussiere dich auf Die drei Philosophen und erkunde erkläre die Beschreibung.Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel (1484–1552), who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.


Die drei Philosophen

Prompt: ErkundeErkläre die Beschreibung dieses Kunstwerks, Die drei Philosophen.Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel (1484–1552), who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.


Die drei Philosophen

Prompt: Wie erläutert Die drei Philosophen seine Beschreibung?Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel (1484–1552), who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.


Die drei Philosophen

Prompt: Wie wird die Beschreibung in Die drei Philosophen diskutiert?Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel (1484–1552), who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.


Die drei Philosophen

Prompt: Fokussiere dich auf Die drei Philosophen und erkunde erkläre die Interpretationen.Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

Various interpretations about Giorgione's picture have been proposed. The Three Philosophers — the old man, the Arab figure, and the young man — could depict the transmission of knowledge, the Transmission of the Classics from the ancient Greeks philosophy through the Arab translations, that became actual again around the Italian Renaissance. The old man is representing a Greek philosopher, such as Plato or Aristotle, whose writings have been copied and transmitted through the Arab philosophers to the Italian Renaissance. The Arab philosopher is possibly representing the polyhistor Avicenna or Averroes, both Arab philosophers and Arab scientists from the Islamic Golden Age.The young man could be seen as the new Renaissance science with roots in the past, looking into the empty darkness of the cave, symbolizing the yet undiscovered secrets. The cave might also symbolize the philosophic concept of Plato's Cave. "The emphasis on light and darkness in relation to philosophy has suggested one of the most credible interpretations of the painting, originally proposed by [Peter] Meller, who argues that it represents the education of philosophers, as described in book 7 of Plato's Republic, whose famous allegory concerns the cave, the sun, and the dividing of the line".New hypotheses about the figures, their identities and the symbolism are still currently advanced. In a note about the picture G. C. Williamsom, early in the 20th century, stated that "It represents Evander and his son Pallas showing to Aeneas the future site of Rome".  The possibility that the three men are King Solomon, Hiram I, King of Tyre, and Hiram Abiff has been advanced by Neil K. MacLennan and Ross S. Kilpatrick.It has been suggested that the figure of the young man can be inscribed neatly in a right-angled triangle for which the Pythagorean theorem applies. Karin Zeleny, relying on a reading of Polydore Vergil has proposed that the philosophers are the teachers of Pythagoras – Pherecydes of Syros and Thales. Thales has been painted as a Jew, while Pherecydes was mistakenly believed to be a Syrian. This interpretation was modified by Frank Keim who claimed that the older philosopher is in fact Aristarchus of SamosOther scholars have asserted that the figures are typical representations for three stages of humanity (youth, middle and old age), three epochs of European civilization (Antiquity, Middle Age, Renaissance), the three Abrahamic religions or some combination of such general conceptions.Augusto Gentili proposed that the picture illustrates the waiting for the Antichrist, based on conjunctionist astrology. On the sheet held by the oldest philosopher the word "eclipsis" and an astronomical diagram can be seen. The great conjunction of 1503 and the eclipse the same year were believed to be signs announcing its coming.James Panero writes that, in interpreting The Three Philosophers, he is "partial to the poetic approach proposed by art historian Tom Nichols in his book Giorgione’s Ambiguity, in which he suggests that our interpretation is meant to remain free-floating and open-ended. Deliberate ambiguities, he writes, are Giorgione’s 'visual traps set to capture the viewer's curiosity and speculation.'"


Die drei Philosophen

Prompt: ErkundeErkläre die Interpretationen dieses Kunstwerks, Die drei Philosophen.Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

Various interpretations about Giorgione's picture have been proposed. The Three Philosophers — the old man, the Arab figure, and the young man — could depict the transmission of knowledge, the Transmission of the Classics from the ancient Greeks philosophy through the Arab translations, that became actual again around the Italian Renaissance. The old man is representing a Greek philosopher, such as Plato or Aristotle, whose writings have been copied and transmitted through the Arab philosophers to the Italian Renaissance. The Arab philosopher is possibly representing the polyhistor Avicenna or Averroes, both Arab philosophers and Arab scientists from the Islamic Golden Age.The young man could be seen as the new Renaissance science with roots in the past, looking into the empty darkness of the cave, symbolizing the yet undiscovered secrets. The cave might also symbolize the philosophic concept of Plato's Cave. "The emphasis on light and darkness in relation to philosophy has suggested one of the most credible interpretations of the painting, originally proposed by [Peter] Meller, who argues that it represents the education of philosophers, as described in book 7 of Plato's Republic, whose famous allegory concerns the cave, the sun, and the dividing of the line".New hypotheses about the figures, their identities and the symbolism are still currently advanced. In a note about the picture G. C. Williamsom, early in the 20th century, stated that "It represents Evander and his son Pallas showing to Aeneas the future site of Rome".  The possibility that the three men are King Solomon, Hiram I, King of Tyre, and Hiram Abiff has been advanced by Neil K. MacLennan and Ross S. Kilpatrick.It has been suggested that the figure of the young man can be inscribed neatly in a right-angled triangle for which the Pythagorean theorem applies. Karin Zeleny, relying on a reading of Polydore Vergil has proposed that the philosophers are the teachers of Pythagoras – Pherecydes of Syros and Thales. Thales has been painted as a Jew, while Pherecydes was mistakenly believed to be a Syrian. This interpretation was modified by Frank Keim who claimed that the older philosopher is in fact Aristarchus of SamosOther scholars have asserted that the figures are typical representations for three stages of humanity (youth, middle and old age), three epochs of European civilization (Antiquity, Middle Age, Renaissance), the three Abrahamic religions or some combination of such general conceptions.Augusto Gentili proposed that the picture illustrates the waiting for the Antichrist, based on conjunctionist astrology. On the sheet held by the oldest philosopher the word "eclipsis" and an astronomical diagram can be seen. The great conjunction of 1503 and the eclipse the same year were believed to be signs announcing its coming.James Panero writes that, in interpreting The Three Philosophers, he is "partial to the poetic approach proposed by art historian Tom Nichols in his book Giorgione’s Ambiguity, in which he suggests that our interpretation is meant to remain free-floating and open-ended. Deliberate ambiguities, he writes, are Giorgione’s 'visual traps set to capture the viewer's curiosity and speculation.'"


Die drei Philosophen

Prompt: Wie erläutert Die drei Philosophen seine Interpretationen?Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

Various interpretations about Giorgione's picture have been proposed. The Three Philosophers — the old man, the Arab figure, and the young man — could depict the transmission of knowledge, the Transmission of the Classics from the ancient Greeks philosophy through the Arab translations, that became actual again around the Italian Renaissance. The old man is representing a Greek philosopher, such as Plato or Aristotle, whose writings have been copied and transmitted through the Arab philosophers to the Italian Renaissance. The Arab philosopher is possibly representing the polyhistor Avicenna or Averroes, both Arab philosophers and Arab scientists from the Islamic Golden Age.The young man could be seen as the new Renaissance science with roots in the past, looking into the empty darkness of the cave, symbolizing the yet undiscovered secrets. The cave might also symbolize the philosophic concept of Plato's Cave. "The emphasis on light and darkness in relation to philosophy has suggested one of the most credible interpretations of the painting, originally proposed by [Peter] Meller, who argues that it represents the education of philosophers, as described in book 7 of Plato's Republic, whose famous allegory concerns the cave, the sun, and the dividing of the line".New hypotheses about the figures, their identities and the symbolism are still currently advanced. In a note about the picture G. C. Williamsom, early in the 20th century, stated that "It represents Evander and his son Pallas showing to Aeneas the future site of Rome".  The possibility that the three men are King Solomon, Hiram I, King of Tyre, and Hiram Abiff has been advanced by Neil K. MacLennan and Ross S. Kilpatrick.It has been suggested that the figure of the young man can be inscribed neatly in a right-angled triangle for which the Pythagorean theorem applies. Karin Zeleny, relying on a reading of Polydore Vergil has proposed that the philosophers are the teachers of Pythagoras – Pherecydes of Syros and Thales. Thales has been painted as a Jew, while Pherecydes was mistakenly believed to be a Syrian. This interpretation was modified by Frank Keim who claimed that the older philosopher is in fact Aristarchus of SamosOther scholars have asserted that the figures are typical representations for three stages of humanity (youth, middle and old age), three epochs of European civilization (Antiquity, Middle Age, Renaissance), the three Abrahamic religions or some combination of such general conceptions.Augusto Gentili proposed that the picture illustrates the waiting for the Antichrist, based on conjunctionist astrology. On the sheet held by the oldest philosopher the word "eclipsis" and an astronomical diagram can be seen. The great conjunction of 1503 and the eclipse the same year were believed to be signs announcing its coming.James Panero writes that, in interpreting The Three Philosophers, he is "partial to the poetic approach proposed by art historian Tom Nichols in his book Giorgione’s Ambiguity, in which he suggests that our interpretation is meant to remain free-floating and open-ended. Deliberate ambiguities, he writes, are Giorgione’s 'visual traps set to capture the viewer's curiosity and speculation.'"


Die drei Philosophen

Prompt: Wie wird die Interpretationen in Die drei Philosophen diskutiert?Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

Various interpretations about Giorgione's picture have been proposed. The Three Philosophers — the old man, the Arab figure, and the young man — could depict the transmission of knowledge, the Transmission of the Classics from the ancient Greeks philosophy through the Arab translations, that became actual again around the Italian Renaissance. The old man is representing a Greek philosopher, such as Plato or Aristotle, whose writings have been copied and transmitted through the Arab philosophers to the Italian Renaissance. The Arab philosopher is possibly representing the polyhistor Avicenna or Averroes, both Arab philosophers and Arab scientists from the Islamic Golden Age.The young man could be seen as the new Renaissance science with roots in the past, looking into the empty darkness of the cave, symbolizing the yet undiscovered secrets. The cave might also symbolize the philosophic concept of Plato's Cave. "The emphasis on light and darkness in relation to philosophy has suggested one of the most credible interpretations of the painting, originally proposed by [Peter] Meller, who argues that it represents the education of philosophers, as described in book 7 of Plato's Republic, whose famous allegory concerns the cave, the sun, and the dividing of the line".New hypotheses about the figures, their identities and the symbolism are still currently advanced. In a note about the picture G. C. Williamsom, early in the 20th century, stated that "It represents Evander and his son Pallas showing to Aeneas the future site of Rome".  The possibility that the three men are King Solomon, Hiram I, King of Tyre, and Hiram Abiff has been advanced by Neil K. MacLennan and Ross S. Kilpatrick.It has been suggested that the figure of the young man can be inscribed neatly in a right-angled triangle for which the Pythagorean theorem applies. Karin Zeleny, relying on a reading of Polydore Vergil has proposed that the philosophers are the teachers of Pythagoras – Pherecydes of Syros and Thales. Thales has been painted as a Jew, while Pherecydes was mistakenly believed to be a Syrian. This interpretation was modified by Frank Keim who claimed that the older philosopher is in fact Aristarchus of SamosOther scholars have asserted that the figures are typical representations for three stages of humanity (youth, middle and old age), three epochs of European civilization (Antiquity, Middle Age, Renaissance), the three Abrahamic religions or some combination of such general conceptions.Augusto Gentili proposed that the picture illustrates the waiting for the Antichrist, based on conjunctionist astrology. On the sheet held by the oldest philosopher the word "eclipsis" and an astronomical diagram can be seen. The great conjunction of 1503 and the eclipse the same year were believed to be signs announcing its coming.James Panero writes that, in interpreting The Three Philosophers, he is "partial to the poetic approach proposed by art historian Tom Nichols in his book Giorgione’s Ambiguity, in which he suggests that our interpretation is meant to remain free-floating and open-ended. Deliberate ambiguities, he writes, are Giorgione’s 'visual traps set to capture the viewer's curiosity and speculation.'"


Die drei Philosophen

Prompt: Fokussiere dich auf Die drei Philosophen und erkunde erkläre die Theatrum Pictorium.Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

This painting was documented in David Teniers the Younger's catalog Theatrum Pictorium of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already gained attention from Teniers' portrayals of the Archduke's art collection: Tenier's copies that he made of the exhibits have long been recognised as a valuable historical resource.This painting is displayed at the Kunsthistorisches Museum in Vienna. While working on his picture, David Teniers the Younger made tiny separate copies of each and every picture as a study for the final big painting, depicting the duke's collection. It is a small copy that measures 21.5 x 30.9 cm.