section

Les Bourgeois de Calais

width_imperial     =  length_imperial    =  metric_unit        = cm imperial_unit      = in city               = Calais, France museum             =  coordinates        =  }}The Burghers of Calais  is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.

Prompt: Concentrez-vous sur Les Bourgeois de Calais et expliquez la Abstrait.Veuillez sortir en anglais.

Auguste Rodin
Calais
English Channel
Hundred Years' War


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Les Bourgeois de Calais

width_imperial     =  length_imperial    =  metric_unit        = cm imperial_unit      = in city               = Calais, France museum             =  coordinates        =  }}The Burghers of Calais  is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.

Prompt: Expliquer la Abstrait de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.

Auguste Rodin
Calais
English Channel
Hundred Years' War


section

Les Bourgeois de Calais

width_imperial     =  length_imperial    =  metric_unit        = cm imperial_unit      = in city               = Calais, France museum             =  coordinates        =  }}The Burghers of Calais  is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.

Prompt: Comment Les Bourgeois de Calais explique-t-il sa Abstrait?Veuillez sortir en anglais.

Auguste Rodin
Calais
English Channel
Hundred Years' War


section

Les Bourgeois de Calais

width_imperial     =  length_imperial    =  metric_unit        = cm imperial_unit      = in city               = Calais, France museum             =  coordinates        =  }}The Burghers of Calais  is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.

Prompt: Dans Les Bourgeois de Calais, comment est discutée la Abstrait?Veuillez sortir en anglais.

Auguste Rodin
Calais
English Channel
Hundred Years' War


section

Les Bourgeois de Calais

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart  tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.

Prompt: Concentrez-vous sur Les Bourgeois de Calais et expliquez la Histoire.Veuillez sortir en anglais.

Battle of Crécy
Calais
Eustache de Saint Pierre
Jean Froissart
Philip VI of France
Philippa of Hainault


section

Les Bourgeois de Calais

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart  tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.

Prompt: Expliquer la Histoire de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.

Battle of Crécy
Calais
Eustache de Saint Pierre
Jean Froissart
Philip VI of France
Philippa of Hainault


section

Les Bourgeois de Calais

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart  tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.

Prompt: Comment Les Bourgeois de Calais explique-t-il sa Histoire?Veuillez sortir en anglais.

Battle of Crécy
Calais
Eustache de Saint Pierre
Jean Froissart
Philip VI of France
Philippa of Hainault


section

Les Bourgeois de Calais

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart  tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.

Prompt: Dans Les Bourgeois de Calais, comment est discutée la Histoire?Veuillez sortir en anglais.

Battle of Crécy
Calais
Eustache de Saint Pierre
Jean Froissart
Philip VI of France
Philippa of Hainault


section

Les Bourgeois de Calais

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.

Prompt: Concentrez-vous sur Les Bourgeois de Calais et expliquez la Composition.Veuillez sortir en anglais.

Auguste Clésinger
Calais
David d'Angers
Eustache de Saint Pierre
Franco-Prussian War
Parc Richelieu


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Les Bourgeois de Calais

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.

Prompt: Expliquer la Composition de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.

Auguste Clésinger
Calais
David d'Angers
Eustache de Saint Pierre
Franco-Prussian War
Parc Richelieu


section

Les Bourgeois de Calais

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.

Prompt: Comment Les Bourgeois de Calais explique-t-il sa Composition?Veuillez sortir en anglais.

Auguste Clésinger
Calais
David d'Angers
Eustache de Saint Pierre
Franco-Prussian War
Parc Richelieu


section

Les Bourgeois de Calais

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.

Prompt: Dans Les Bourgeois de Calais, comment est discutée la Composition?Veuillez sortir en anglais.

Auguste Clésinger
Calais
David d'Angers
Eustache de Saint Pierre
Franco-Prussian War
Parc Richelieu


section

Les Bourgeois de Calais

The six burghers depicted are: Eustache de Saint Pierre Jacques de Wissant Pierre de Wissant Jean de Fiennes Andrieu d'Andres Jean d'Aire

Prompt: Concentrez-vous sur Les Bourgeois de Calais et expliquez la Personnesdépeintes.Veuillez sortir en anglais.

Andrieu d'Andres
Eustache de Saint Pierre
Jacques de Wissant
Jean d'Aire
Jean de Fiennes


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Les Bourgeois de Calais

The six burghers depicted are: Eustache de Saint Pierre Jacques de Wissant Pierre de Wissant Jean de Fiennes Andrieu d'Andres Jean d'Aire

Prompt: Expliquer la Personnesdépeintes de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.

Andrieu d'Andres
Eustache de Saint Pierre
Jacques de Wissant
Jean d'Aire
Jean de Fiennes


section

Les Bourgeois de Calais

The six burghers depicted are: Eustache de Saint Pierre Jacques de Wissant Pierre de Wissant Jean de Fiennes Andrieu d'Andres Jean d'Aire

Prompt: Comment Les Bourgeois de Calais explique-t-il sa Personnesdépeintes?Veuillez sortir en anglais.

Andrieu d'Andres
Eustache de Saint Pierre
Jacques de Wissant
Jean d'Aire
Jean de Fiennes


section

Les Bourgeois de Calais

The six burghers depicted are: Eustache de Saint Pierre Jacques de Wissant Pierre de Wissant Jean de Fiennes Andrieu d'Andres Jean d'Aire

Prompt: Dans Les Bourgeois de Calais, comment est discutée la Personnesdépeintes?Veuillez sortir en anglais.

Andrieu d'Andres
Eustache de Saint Pierre
Jacques de Wissant
Jean d'Aire
Jean de Fiennes


section

Les Bourgeois de Calais

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at: Glyptoteket in Copenhagen, cast 1903; the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 ; Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915; the Rodin Museum in Philadelphia, cast 1925 and installed in 1929; the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955; Kunstmuseum in Basel, cast 1943 and installed in 1948; the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966; the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959; the Norton Simon Museum in Pasadena, California, cast 1968; the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989; and Plateau  in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are: sculptures of all individual figures on the campus of Stanford University; sculptures of all individual figures  and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan; sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden; a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;  "The man with the key" figure , on the Sommerro Park in Oslo, Norway; and a bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.

Prompt: Concentrez-vous sur Les Bourgeois de Calais et expliquez la Moulages.Veuillez sortir en anglais.

Basel
Calais
Cantor Fitzgerald
Davidson College
Hirshhorn Museum and Sculpture Garden
Jean d'Aire
Jean de Fiennes
Los Angeles County Museum of Art
Maquette
Metropolitan Museum of Art
Morlanwelz
Musée Rodin
Musée royal de Mariemont
National Museum of Western Art
Norton Simon Museum
Pasadena, California
Philadelphia
Rodin Museum
Seoul
Shizuoka Prefectural Museum of Art
Stanford University


section

Les Bourgeois de Calais

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at: Glyptoteket in Copenhagen, cast 1903; the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 ; Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915; the Rodin Museum in Philadelphia, cast 1925 and installed in 1929; the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955; Kunstmuseum in Basel, cast 1943 and installed in 1948; the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966; the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959; the Norton Simon Museum in Pasadena, California, cast 1968; the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989; and Plateau  in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are: sculptures of all individual figures on the campus of Stanford University; sculptures of all individual figures  and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan; sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden; a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;  "The man with the key" figure , on the Sommerro Park in Oslo, Norway; and a bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.

Prompt: Expliquer la Moulages de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.

Basel
Calais
Cantor Fitzgerald
Davidson College
Hirshhorn Museum and Sculpture Garden
Jean d'Aire
Jean de Fiennes
Los Angeles County Museum of Art
Maquette
Metropolitan Museum of Art
Morlanwelz
Musée Rodin
Musée royal de Mariemont
National Museum of Western Art
Norton Simon Museum
Pasadena, California
Philadelphia
Rodin Museum
Seoul
Shizuoka Prefectural Museum of Art
Stanford University


section

Les Bourgeois de Calais

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at: Glyptoteket in Copenhagen, cast 1903; the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 ; Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915; the Rodin Museum in Philadelphia, cast 1925 and installed in 1929; the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955; Kunstmuseum in Basel, cast 1943 and installed in 1948; the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966; the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959; the Norton Simon Museum in Pasadena, California, cast 1968; the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989; and Plateau  in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are: sculptures of all individual figures on the campus of Stanford University; sculptures of all individual figures  and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan; sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden; a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;  "The man with the key" figure , on the Sommerro Park in Oslo, Norway; and a bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.

Prompt: Comment Les Bourgeois de Calais explique-t-il sa Moulages?Veuillez sortir en anglais.

Basel
Calais
Cantor Fitzgerald
Davidson College
Hirshhorn Museum and Sculpture Garden
Jean d'Aire
Jean de Fiennes
Los Angeles County Museum of Art
Maquette
Metropolitan Museum of Art
Morlanwelz
Musée Rodin
Musée royal de Mariemont
National Museum of Western Art
Norton Simon Museum
Pasadena, California
Philadelphia
Rodin Museum
Seoul
Shizuoka Prefectural Museum of Art
Stanford University


section

Les Bourgeois de Calais

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at: Glyptoteket in Copenhagen, cast 1903; the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 ; Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915; the Rodin Museum in Philadelphia, cast 1925 and installed in 1929; the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955; Kunstmuseum in Basel, cast 1943 and installed in 1948; the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966; the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959; the Norton Simon Museum in Pasadena, California, cast 1968; the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989; and Plateau  in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are: sculptures of all individual figures on the campus of Stanford University; sculptures of all individual figures  and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan; sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden; a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;  "The man with the key" figure , on the Sommerro Park in Oslo, Norway; and a bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.

Prompt: Dans Les Bourgeois de Calais, comment est discutée la Moulages?Veuillez sortir en anglais.

Basel
Calais
Cantor Fitzgerald
Davidson College
Hirshhorn Museum and Sculpture Garden
Jean d'Aire
Jean de Fiennes
Los Angeles County Museum of Art
Maquette
Metropolitan Museum of Art
Morlanwelz
Musée Rodin
Musée royal de Mariemont
National Museum of Western Art
Norton Simon Museum
Pasadena, California
Philadelphia
Rodin Museum
Seoul
Shizuoka Prefectural Museum of Art
Stanford University


section

Les Bourgeois de Calais

Prompt: Concentrez-vous sur Les Bourgeois de Calais et expliquez la Voir aussi.Veuillez sortir en anglais.

Auguste Rodin
List of sculptures by Auguste Rodin


section

Les Bourgeois de Calais

Prompt: Expliquer la Voir aussi de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.

Auguste Rodin
List of sculptures by Auguste Rodin


section

Les Bourgeois de Calais

Prompt: Comment Les Bourgeois de Calais explique-t-il sa Voir aussi?Veuillez sortir en anglais.

Auguste Rodin
List of sculptures by Auguste Rodin


section

Les Bourgeois de Calais

Prompt: Dans Les Bourgeois de Calais, comment est discutée la Voir aussi?Veuillez sortir en anglais.

Auguste Rodin
List of sculptures by Auguste Rodin


section

Les Bourgeois de Calais

Elsen, Albert E. .  Rodin.  New York:  Museum of Modern Art. Jianou, Ionel .  Rodin.  Paris:  ARTED. urent, Monique .  Rodin.  New York:  Konecky & Konecky.  .

Prompt: Concentrez-vous sur Les Bourgeois de Calais et expliquez la Références.Veuillez sortir en anglais.


section

Les Bourgeois de Calais

Elsen, Albert E. .  Rodin.  New York:  Museum of Modern Art. Jianou, Ionel .  Rodin.  Paris:  ARTED. urent, Monique .  Rodin.  New York:  Konecky & Konecky.  .

Prompt: Expliquer la Références de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.


section

Les Bourgeois de Calais

Elsen, Albert E. .  Rodin.  New York:  Museum of Modern Art. Jianou, Ionel .  Rodin.  Paris:  ARTED. urent, Monique .  Rodin.  New York:  Konecky & Konecky.  .

Prompt: Comment Les Bourgeois de Calais explique-t-il sa Références?Veuillez sortir en anglais.


section

Les Bourgeois de Calais

Elsen, Albert E. .  Rodin.  New York:  Museum of Modern Art. Jianou, Ionel .  Rodin.  Paris:  ARTED. urent, Monique .  Rodin.  New York:  Konecky & Konecky.  .

Prompt: Dans Les Bourgeois de Calais, comment est discutée la Références?Veuillez sortir en anglais.


section

Les Bourgeois de Calais

Prompt: Concentrez-vous sur Les Bourgeois de Calais et expliquez la Lectures supplémentaires.Veuillez sortir en anglais.


section

Les Bourgeois de Calais

Prompt: Expliquer la Lectures supplémentaires de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.


section

Les Bourgeois de Calais

Prompt: Comment Les Bourgeois de Calais explique-t-il sa Lectures supplémentaires?Veuillez sortir en anglais.


section

Les Bourgeois de Calais

Prompt: Dans Les Bourgeois de Calais, comment est discutée la Lectures supplémentaires?Veuillez sortir en anglais.


section

Les Bourgeois de Calais

Link to account of the theft and recovery of The Burghers of Calais during WWII:<br>

Prompt: Concentrez-vous sur Les Bourgeois de Calais et expliquez la Liensexternes.Veuillez sortir en anglais.


section

Les Bourgeois de Calais

Link to account of the theft and recovery of The Burghers of Calais during WWII:<br>

Prompt: Expliquer la Liensexternes de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.


section

Les Bourgeois de Calais

Link to account of the theft and recovery of The Burghers of Calais during WWII:<br>

Prompt: Comment Les Bourgeois de Calais explique-t-il sa Liensexternes?Veuillez sortir en anglais.


section

Les Bourgeois de Calais

Link to account of the theft and recovery of The Burghers of Calais during WWII:<br>

Prompt: Dans Les Bourgeois de Calais, comment est discutée la Liensexternes?Veuillez sortir en anglais.


section

Les Mangeurs de pommes de terre

F82JH764}}The Potato Eaters  is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.

Prompt: Concentrez-vous sur Les Mangeurs de pommes de terre et expliquez la Abstrait.Veuillez sortir en anglais.

Kröller-Müller Museum
Museum of Modern Art
Nuenen
Van Gogh Museum
Vincent van Gogh


section

Les Mangeurs de pommes de terre

F82JH764}}The Potato Eaters  is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.

Prompt: Expliquer la Abstrait de cette œuvre d'art, Les Mangeurs de pommes de terre.Veuillez sortir en anglais.

Kröller-Müller Museum
Museum of Modern Art
Nuenen
Van Gogh Museum
Vincent van Gogh


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Les Mangeurs de pommes de terre

F82JH764}}The Potato Eaters  is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.

Prompt: Comment Les Mangeurs de pommes de terre explique-t-il sa Abstrait?Veuillez sortir en anglais.

Kröller-Müller Museum
Museum of Modern Art
Nuenen
Van Gogh Museum
Vincent van Gogh


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Les Mangeurs de pommes de terre

F82JH764}}The Potato Eaters  is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.

Prompt: Dans Les Mangeurs de pommes de terre, comment est discutée la Abstrait?Veuillez sortir en anglais.

Kröller-Müller Museum
Museum of Modern Art
Nuenen
Van Gogh Museum
Vincent van Gogh


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Les Mangeurs de pommes de terre

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" , and later, "I am always doing what I can't do yet in order to learn how to do it." .Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the st Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.

Prompt: Concentrez-vous sur Les Mangeurs de pommes de terre et expliquez la Composition.Veuillez sortir en anglais.

Anthon van Rappard
Charles de Groux
Nuenen


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Les Mangeurs de pommes de terre

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" , and later, "I am always doing what I can't do yet in order to learn how to do it." .Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the st Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.

Prompt: Expliquer la Composition de cette œuvre d'art, Les Mangeurs de pommes de terre.Veuillez sortir en anglais.

Anthon van Rappard
Charles de Groux
Nuenen


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Les Mangeurs de pommes de terre

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" , and later, "I am always doing what I can't do yet in order to learn how to do it." .Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the st Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.

Prompt: Comment Les Mangeurs de pommes de terre explique-t-il sa Composition?Veuillez sortir en anglais.

Anthon van Rappard
Charles de Groux
Nuenen


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Les Mangeurs de pommes de terre

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" , and later, "I am always doing what I can't do yet in order to learn how to do it." .Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the st Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.

Prompt: Dans Les Mangeurs de pommes de terre, comment est discutée la Composition?Veuillez sortir en anglais.

Anthon van Rappard
Charles de Groux
Nuenen


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Les Mangeurs de pommes de terre

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarks

Prompt: Concentrez-vous sur Les Mangeurs de pommes de terre et expliquez la Lithographie.Veuillez sortir en anglais.


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Les Mangeurs de pommes de terre

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarks

Prompt: Expliquer la Lithographie de cette œuvre d'art, Les Mangeurs de pommes de terre.Veuillez sortir en anglais.


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Les Mangeurs de pommes de terre

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarks

Prompt: Comment Les Mangeurs de pommes de terre explique-t-il sa Lithographie?Veuillez sortir en anglais.


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Les Mangeurs de pommes de terre

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarks

Prompt: Dans Les Mangeurs de pommes de terre, comment est discutée la Lithographie?Veuillez sortir en anglais.


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Les Mangeurs de pommes de terre

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:</ref>}}Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this  and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.

Prompt: Concentrez-vous sur Les Mangeurs de pommes de terre et expliquez la Influence de l'École de La Haye.Veuillez sortir en anglais.


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Les Mangeurs de pommes de terre

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:</ref>}}Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this  and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.

Prompt: Expliquer la Influence de l'École de La Haye de cette œuvre d'art, Les Mangeurs de pommes de terre.Veuillez sortir en anglais.


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Les Mangeurs de pommes de terre

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:</ref>}}Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this  and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.

Prompt: Comment Les Mangeurs de pommes de terre explique-t-il sa Influence de l'École de La Haye?Veuillez sortir en anglais.


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Les Mangeurs de pommes de terre

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:</ref>}}Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this  and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.

Prompt: Dans Les Mangeurs de pommes de terre, comment est discutée la Influence de l'École de La Haye?Veuillez sortir en anglais.


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Les Mangeurs de pommes de terre

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.

Prompt: Concentrez-vous sur Les Mangeurs de pommes de terre et expliquez la Vol.Veuillez sortir en anglais.


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Les Mangeurs de pommes de terre

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.

Prompt: Expliquer la Vol de cette œuvre d'art, Les Mangeurs de pommes de terre.Veuillez sortir en anglais.


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Les Mangeurs de pommes de terre

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.

Prompt: Comment Les Mangeurs de pommes de terre explique-t-il sa Vol?Veuillez sortir en anglais.


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Les Mangeurs de pommes de terre

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.

Prompt: Dans Les Mangeurs de pommes de terre, comment est discutée la Vol?Veuillez sortir en anglais.


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Les Mangeurs de pommes de terre

Prompt: Concentrez-vous sur Les Mangeurs de pommes de terre et expliquez la Voir aussi.Veuillez sortir en anglais.

List of works by Vincent van Gogh
Vincent van Gogh


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Les Mangeurs de pommes de terre

Prompt: Expliquer la Voir aussi de cette œuvre d'art, Les Mangeurs de pommes de terre.Veuillez sortir en anglais.

List of works by Vincent van Gogh
Vincent van Gogh


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Les Mangeurs de pommes de terre

Prompt: Comment Les Mangeurs de pommes de terre explique-t-il sa Voir aussi?Veuillez sortir en anglais.

List of works by Vincent van Gogh
Vincent van Gogh


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Les Mangeurs de pommes de terre

Prompt: Dans Les Mangeurs de pommes de terre, comment est discutée la Voir aussi?Veuillez sortir en anglais.

List of works by Vincent van Gogh
Vincent van Gogh


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Les Mangeurs de pommes de terre

The Potato Eaters , oil on canvas,  The Potato Eaters , oil on canvas,

Prompt: Concentrez-vous sur Les Mangeurs de pommes de terre et expliquez la Liensexternes.Veuillez sortir en anglais.


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Les Mangeurs de pommes de terre

The Potato Eaters , oil on canvas,  The Potato Eaters , oil on canvas,

Prompt: Expliquer la Liensexternes de cette œuvre d'art, Les Mangeurs de pommes de terre.Veuillez sortir en anglais.


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Les Mangeurs de pommes de terre

The Potato Eaters , oil on canvas,  The Potato Eaters , oil on canvas,

Prompt: Comment Les Mangeurs de pommes de terre explique-t-il sa Liensexternes?Veuillez sortir en anglais.


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Les Mangeurs de pommes de terre

The Potato Eaters , oil on canvas,  The Potato Eaters , oil on canvas,

Prompt: Dans Les Mangeurs de pommes de terre, comment est discutée la Liensexternes?Veuillez sortir en anglais.


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Chambres de Raphaël

image_size=270mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=14mapframe-marker=monumentmapframe-wikidata=yesitalic title=no}}The four Raphael Rooms  form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor  Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino , the Stanza di Eliodoro , the Stanza della Segnatura , and the Stanza dell'Incendio del Borgo .After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.

Prompt: Concentrez-vous sur Chambres de Raphaël et expliquez la Abstrait.Veuillez sortir en anglais.

Apostolic Palace
Gianfrancesco Penni
Giulio Romano
High Renaissance
Pope Leo X
Michelangelo
Pope
Pope Alexander VI
Pope Julius II
Pope Leo X


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Chambres de Raphaël

image_size=270mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=14mapframe-marker=monumentmapframe-wikidata=yesitalic title=no}}The four Raphael Rooms  form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor  Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino , the Stanza di Eliodoro , the Stanza della Segnatura , and the Stanza dell'Incendio del Borgo .After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.

Prompt: Expliquer la Abstrait de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.

Apostolic Palace
Gianfrancesco Penni
Giulio Romano
High Renaissance
Pope Leo X
Michelangelo
Pope
Pope Alexander VI
Pope Julius II
Pope Leo X


section

Chambres de Raphaël

image_size=270mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=14mapframe-marker=monumentmapframe-wikidata=yesitalic title=no}}The four Raphael Rooms  form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor  Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino , the Stanza di Eliodoro , the Stanza della Segnatura , and the Stanza dell'Incendio del Borgo .After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.

Prompt: Comment Chambres de Raphaël explique-t-il sa Abstrait?Veuillez sortir en anglais.

Apostolic Palace
Gianfrancesco Penni
Giulio Romano
High Renaissance
Pope Leo X
Michelangelo
Pope
Pope Alexander VI
Pope Julius II
Pope Leo X


section

Chambres de Raphaël

image_size=270mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=14mapframe-marker=monumentmapframe-wikidata=yesitalic title=no}}The four Raphael Rooms  form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor  Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino , the Stanza di Eliodoro , the Stanza della Segnatura , and the Stanza dell'Incendio del Borgo .After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.

Prompt: Dans Chambres de Raphaël, comment est discutée la Abstrait?Veuillez sortir en anglais.

Apostolic Palace
Gianfrancesco Penni
Giulio Romano
High Renaissance
Pope Leo X
Michelangelo
Pope
Pope Alexander VI
Pope Julius II
Pope Leo X


section

Chambres de Raphaël

The scheme of the works is as follows:{ class="wikitable" style="text-align:centre"! width="20%" ! width="20%" ! width="20%" ! width="20%" -colspan="4"General view --colspan="4"General view --colspan="4"East wall---colspan="4"South wall---colspan="4"West wall---colspan="4"North wall---colspan="4"Ceiling--}

Prompt: Concentrez-vous sur Chambres de Raphaël et expliquez la Schéma.Veuillez sortir en anglais.


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Chambres de Raphaël

The scheme of the works is as follows:{ class="wikitable" style="text-align:centre"! width="20%" ! width="20%" ! width="20%" ! width="20%" -colspan="4"General view --colspan="4"General view --colspan="4"East wall---colspan="4"South wall---colspan="4"West wall---colspan="4"North wall---colspan="4"Ceiling--}

Prompt: Expliquer la Schéma de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.


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Chambres de Raphaël

The scheme of the works is as follows:{ class="wikitable" style="text-align:centre"! width="20%" ! width="20%" ! width="20%" ! width="20%" -colspan="4"General view --colspan="4"General view --colspan="4"East wall---colspan="4"South wall---colspan="4"West wall---colspan="4"North wall---colspan="4"Ceiling--}

Prompt: Comment Chambres de Raphaël explique-t-il sa Schéma?Veuillez sortir en anglais.


section

Chambres de Raphaël

The scheme of the works is as follows:{ class="wikitable" style="text-align:centre"! width="20%" ! width="20%" ! width="20%" ! width="20%" -colspan="4"General view --colspan="4"General view --colspan="4"East wall---colspan="4"South wall---colspan="4"West wall---colspan="4"North wall---colspan="4"Ceiling--}

Prompt: Dans Chambres de Raphaël, comment est discutée la Schéma?Veuillez sortir en anglais.


section

Chambres de Raphaël

The largest of the twelve rooms is the Sala di Costantino . Its paintings were not begun until Pope Julius and, indeed Raphael himself, had died. The room is dedicated to the victory of Christianity over paganism. Its frescoes represent this struggle from the life of the Roman Emperor Constantine, and are the work of Giulio Romano, Gianfrancesco Penni and Raffaellino del Colle. Because they are not by the master himself, the frescos are less famous than works in the neighboring rooms. Continuing a long tradition of flattery, Raphael's assistants gave the features of the current pontiff, Clement VII, to Pope Sylvester in the paintings.

Prompt: Concentrez-vous sur Chambres de Raphaël et expliquez la SaladiCostantino.Veuillez sortir en anglais.

Christianity
Gianfrancesco Penni
Giulio Romano
Pope


section

Chambres de Raphaël

The largest of the twelve rooms is the Sala di Costantino . Its paintings were not begun until Pope Julius and, indeed Raphael himself, had died. The room is dedicated to the victory of Christianity over paganism. Its frescoes represent this struggle from the life of the Roman Emperor Constantine, and are the work of Giulio Romano, Gianfrancesco Penni and Raffaellino del Colle. Because they are not by the master himself, the frescos are less famous than works in the neighboring rooms. Continuing a long tradition of flattery, Raphael's assistants gave the features of the current pontiff, Clement VII, to Pope Sylvester in the paintings.

Prompt: Expliquer la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.

Christianity
Gianfrancesco Penni
Giulio Romano
Pope


section

Chambres de Raphaël

The largest of the twelve rooms is the Sala di Costantino . Its paintings were not begun until Pope Julius and, indeed Raphael himself, had died. The room is dedicated to the victory of Christianity over paganism. Its frescoes represent this struggle from the life of the Roman Emperor Constantine, and are the work of Giulio Romano, Gianfrancesco Penni and Raffaellino del Colle. Because they are not by the master himself, the frescos are less famous than works in the neighboring rooms. Continuing a long tradition of flattery, Raphael's assistants gave the features of the current pontiff, Clement VII, to Pope Sylvester in the paintings.

Prompt: Comment Chambres de Raphaël explique-t-il sa SaladiCostantino?Veuillez sortir en anglais.

Christianity
Gianfrancesco Penni
Giulio Romano
Pope


section

Chambres de Raphaël

The largest of the twelve rooms is the Sala di Costantino . Its paintings were not begun until Pope Julius and, indeed Raphael himself, had died. The room is dedicated to the victory of Christianity over paganism. Its frescoes represent this struggle from the life of the Roman Emperor Constantine, and are the work of Giulio Romano, Gianfrancesco Penni and Raffaellino del Colle. Because they are not by the master himself, the frescos are less famous than works in the neighboring rooms. Continuing a long tradition of flattery, Raphael's assistants gave the features of the current pontiff, Clement VII, to Pope Sylvester in the paintings.

Prompt: Dans Chambres de Raphaël, comment est discutée la SaladiCostantino?Veuillez sortir en anglais.

Christianity
Gianfrancesco Penni
Giulio Romano
Pope


section

Chambres de Raphaël

The next room, going from East to West, is the Stanza di Eliodoro . Painted between 1511 and 1514, it takes its name from one of the paintings. The theme of this private chamber – probably an audience room – was the heavenly protection granted by Christ to the Church. The four paintings are: The Expulsion of Heliodorus from the Temple, The Mass at Bolsena, The Meeting of Pope Leo I and Attila, and The Deliverance of Saint Peter from Prison. In the first two of these frescoes, Raphael flatteringly includes his patron, Pope Julius II, as participant or observer; the third, painted after Julius's death, includes a portrait of his successor, Leo X.Raphael's style changed here from the Stanza della Segnatura.  Instead of the static images of the Pope's library, he had dramatic narratives to portray, and his approach was to maximize the frescoes' expressive effects.  He represented fewer, larger figures so that their actions and emotions have more direct impact on the viewers, and he used theatrical lighting effects to spotlight certain figures and heighten tension.

Prompt: Concentrez-vous sur Chambres de Raphaël et expliquez la StanzadiEliodoro.Veuillez sortir en anglais.

Attila
Deliverance of Saint Peter
Pope
Pope Julius II
Pope Leo I


section

Chambres de Raphaël

The next room, going from East to West, is the Stanza di Eliodoro . Painted between 1511 and 1514, it takes its name from one of the paintings. The theme of this private chamber – probably an audience room – was the heavenly protection granted by Christ to the Church. The four paintings are: The Expulsion of Heliodorus from the Temple, The Mass at Bolsena, The Meeting of Pope Leo I and Attila, and The Deliverance of Saint Peter from Prison. In the first two of these frescoes, Raphael flatteringly includes his patron, Pope Julius II, as participant or observer; the third, painted after Julius's death, includes a portrait of his successor, Leo X.Raphael's style changed here from the Stanza della Segnatura.  Instead of the static images of the Pope's library, he had dramatic narratives to portray, and his approach was to maximize the frescoes' expressive effects.  He represented fewer, larger figures so that their actions and emotions have more direct impact on the viewers, and he used theatrical lighting effects to spotlight certain figures and heighten tension.

Prompt: Expliquer la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.

Attila
Deliverance of Saint Peter
Pope
Pope Julius II
Pope Leo I


section

Chambres de Raphaël

The next room, going from East to West, is the Stanza di Eliodoro . Painted between 1511 and 1514, it takes its name from one of the paintings. The theme of this private chamber – probably an audience room – was the heavenly protection granted by Christ to the Church. The four paintings are: The Expulsion of Heliodorus from the Temple, The Mass at Bolsena, The Meeting of Pope Leo I and Attila, and The Deliverance of Saint Peter from Prison. In the first two of these frescoes, Raphael flatteringly includes his patron, Pope Julius II, as participant or observer; the third, painted after Julius's death, includes a portrait of his successor, Leo X.Raphael's style changed here from the Stanza della Segnatura.  Instead of the static images of the Pope's library, he had dramatic narratives to portray, and his approach was to maximize the frescoes' expressive effects.  He represented fewer, larger figures so that their actions and emotions have more direct impact on the viewers, and he used theatrical lighting effects to spotlight certain figures and heighten tension.

Prompt: Comment Chambres de Raphaël explique-t-il sa StanzadiEliodoro?Veuillez sortir en anglais.

Attila
Deliverance of Saint Peter
Pope
Pope Julius II
Pope Leo I


section

Chambres de Raphaël

The next room, going from East to West, is the Stanza di Eliodoro . Painted between 1511 and 1514, it takes its name from one of the paintings. The theme of this private chamber – probably an audience room – was the heavenly protection granted by Christ to the Church. The four paintings are: The Expulsion of Heliodorus from the Temple, The Mass at Bolsena, The Meeting of Pope Leo I and Attila, and The Deliverance of Saint Peter from Prison. In the first two of these frescoes, Raphael flatteringly includes his patron, Pope Julius II, as participant or observer; the third, painted after Julius's death, includes a portrait of his successor, Leo X.Raphael's style changed here from the Stanza della Segnatura.  Instead of the static images of the Pope's library, he had dramatic narratives to portray, and his approach was to maximize the frescoes' expressive effects.  He represented fewer, larger figures so that their actions and emotions have more direct impact on the viewers, and he used theatrical lighting effects to spotlight certain figures and heighten tension.

Prompt: Dans Chambres de Raphaël, comment est discutée la StanzadiEliodoro?Veuillez sortir en anglais.

Attila
Deliverance of Saint Peter
Pope
Pope Julius II
Pope Leo I


section

Chambres de Raphaël

The Stanza della segnatura  was the first to be decorated by Raphael's frescoes. It was the study housing the library of Julius II, in which the Signatura of Grace tribunal was originally located. The artist's concept brings into harmony the spirits of Antiquity and Christianity and reflects the contents of the pope's library with themes of theology, philosophy, jurisprudence, and the poetic arts, represented in tondi above the lunettes of the walls. The theme of this room is worldly and spiritual wisdom and the harmony which Renaissance humanists perceived between Christian teaching and Greek philosophy. The theme of wisdom is appropriate as this room was the council chamber for the Apostolic Signatura, where most of the important papal documents were signed and sealed.

Prompt: Concentrez-vous sur Chambres de Raphaël et expliquez la Stanza della Segnatura.Veuillez sortir en anglais.


section

Chambres de Raphaël

The Stanza della segnatura  was the first to be decorated by Raphael's frescoes. It was the study housing the library of Julius II, in which the Signatura of Grace tribunal was originally located. The artist's concept brings into harmony the spirits of Antiquity and Christianity and reflects the contents of the pope's library with themes of theology, philosophy, jurisprudence, and the poetic arts, represented in tondi above the lunettes of the walls. The theme of this room is worldly and spiritual wisdom and the harmony which Renaissance humanists perceived between Christian teaching and Greek philosophy. The theme of wisdom is appropriate as this room was the council chamber for the Apostolic Signatura, where most of the important papal documents were signed and sealed.

Prompt: Expliquer la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.


section

Chambres de Raphaël

The Stanza della segnatura  was the first to be decorated by Raphael's frescoes. It was the study housing the library of Julius II, in which the Signatura of Grace tribunal was originally located. The artist's concept brings into harmony the spirits of Antiquity and Christianity and reflects the contents of the pope's library with themes of theology, philosophy, jurisprudence, and the poetic arts, represented in tondi above the lunettes of the walls. The theme of this room is worldly and spiritual wisdom and the harmony which Renaissance humanists perceived between Christian teaching and Greek philosophy. The theme of wisdom is appropriate as this room was the council chamber for the Apostolic Signatura, where most of the important papal documents were signed and sealed.

Prompt: Comment Chambres de Raphaël explique-t-il sa Stanza della Segnatura?Veuillez sortir en anglais.


section

Chambres de Raphaël

The Stanza della segnatura  was the first to be decorated by Raphael's frescoes. It was the study housing the library of Julius II, in which the Signatura of Grace tribunal was originally located. The artist's concept brings into harmony the spirits of Antiquity and Christianity and reflects the contents of the pope's library with themes of theology, philosophy, jurisprudence, and the poetic arts, represented in tondi above the lunettes of the walls. The theme of this room is worldly and spiritual wisdom and the harmony which Renaissance humanists perceived between Christian teaching and Greek philosophy. The theme of wisdom is appropriate as this room was the council chamber for the Apostolic Signatura, where most of the important papal documents were signed and sealed.

Prompt: Dans Chambres de Raphaël, comment est discutée la Stanza della Segnatura?Veuillez sortir en anglais.


section

Chambres de Raphaël

The Stanza dell'incendio del Borgo was named for the Fire in the Borgo fresco which depicts Pope Leo IV making the sign of the cross to extinguish a raging fire in the Borgo district of Rome near the Vatican. This room was prepared as a music room for Julius' successor, Leo X. The frescos depict events from the lives of Popes Leo III and Leo IV. The other paintings in the room are The Oath of Leo III, The Coronation of Charlemagne by Leo III, and The Battle of Ostia. Though the Fire in the Borgo was based on Raphael's mature designs it was executed by his assistants, who painted the other three paintings without his guidance.

Prompt: Concentrez-vous sur Chambres de Raphaël et expliquez la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.

Battle of Ostia
Charlemagne
Pope
Pope Leo I
Pope Leo IV


section

Chambres de Raphaël

The Stanza dell'incendio del Borgo was named for the Fire in the Borgo fresco which depicts Pope Leo IV making the sign of the cross to extinguish a raging fire in the Borgo district of Rome near the Vatican. This room was prepared as a music room for Julius' successor, Leo X. The frescos depict events from the lives of Popes Leo III and Leo IV. The other paintings in the room are The Oath of Leo III, The Coronation of Charlemagne by Leo III, and The Battle of Ostia. Though the Fire in the Borgo was based on Raphael's mature designs it was executed by his assistants, who painted the other three paintings without his guidance.

Prompt: Expliquer la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.

Battle of Ostia
Charlemagne
Pope
Pope Leo I
Pope Leo IV


section

Chambres de Raphaël

The Stanza dell'incendio del Borgo was named for the Fire in the Borgo fresco which depicts Pope Leo IV making the sign of the cross to extinguish a raging fire in the Borgo district of Rome near the Vatican. This room was prepared as a music room for Julius' successor, Leo X. The frescos depict events from the lives of Popes Leo III and Leo IV. The other paintings in the room are The Oath of Leo III, The Coronation of Charlemagne by Leo III, and The Battle of Ostia. Though the Fire in the Borgo was based on Raphael's mature designs it was executed by his assistants, who painted the other three paintings without his guidance.

Prompt: Comment Chambres de Raphaël explique-t-il sa Stanza dell'incendio del Borgo?Veuillez sortir en anglais.

Battle of Ostia
Charlemagne
Pope
Pope Leo I
Pope Leo IV


section

Chambres de Raphaël

The Stanza dell'incendio del Borgo was named for the Fire in the Borgo fresco which depicts Pope Leo IV making the sign of the cross to extinguish a raging fire in the Borgo district of Rome near the Vatican. This room was prepared as a music room for Julius' successor, Leo X. The frescos depict events from the lives of Popes Leo III and Leo IV. The other paintings in the room are The Oath of Leo III, The Coronation of Charlemagne by Leo III, and The Battle of Ostia. Though the Fire in the Borgo was based on Raphael's mature designs it was executed by his assistants, who painted the other three paintings without his guidance.

Prompt: Dans Chambres de Raphaël, comment est discutée la Stanza dell'incendio del Borgo?Veuillez sortir en anglais.

Battle of Ostia
Charlemagne
Pope
Pope Leo I
Pope Leo IV


section

Chambres de Raphaël

Index of Vatican City-related articlesList of paintings by Raphael

Prompt: Concentrez-vous sur Chambres de Raphaël et expliquez la Voir aussi.Veuillez sortir en anglais.


section

Chambres de Raphaël

Index of Vatican City-related articlesList of paintings by Raphael

Prompt: Expliquer la Voir aussi de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.


section

Chambres de Raphaël

Index of Vatican City-related articlesList of paintings by Raphael

Prompt: Comment Chambres de Raphaël explique-t-il sa Voir aussi?Veuillez sortir en anglais.


section

Chambres de Raphaël

Index of Vatican City-related articlesList of paintings by Raphael

Prompt: Dans Chambres de Raphaël, comment est discutée la Voir aussi?Veuillez sortir en anglais.


section

Chambres de Raphaël

Rijser, David. “Tradition and Originality in Raphael: The Stanza Della Segnatura, the Middle Ages and Local Traditions.” The Quest for an Appropriate Past in Literature, Art and Architecture, edited by Karl A.E. Enenkel and Konrad A. Ottenheym, vol. 60, Brill, LEIDEN; BOSTON, 2019, pp. 106–126. JSTOR, www.jstor.org/stable/10.1163/j.ctvbqs5nk.11. Accessed 24 Mar. 2021.

Prompt: Concentrez-vous sur Chambres de Raphaël et expliquez la Lectures supplémentaires.Veuillez sortir en anglais.


section

Chambres de Raphaël

Rijser, David. “Tradition and Originality in Raphael: The Stanza Della Segnatura, the Middle Ages and Local Traditions.” The Quest for an Appropriate Past in Literature, Art and Architecture, edited by Karl A.E. Enenkel and Konrad A. Ottenheym, vol. 60, Brill, LEIDEN; BOSTON, 2019, pp. 106–126. JSTOR, www.jstor.org/stable/10.1163/j.ctvbqs5nk.11. Accessed 24 Mar. 2021.

Prompt: Expliquer la Lectures supplémentaires de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.


section

Chambres de Raphaël

Rijser, David. “Tradition and Originality in Raphael: The Stanza Della Segnatura, the Middle Ages and Local Traditions.” The Quest for an Appropriate Past in Literature, Art and Architecture, edited by Karl A.E. Enenkel and Konrad A. Ottenheym, vol. 60, Brill, LEIDEN; BOSTON, 2019, pp. 106–126. JSTOR, www.jstor.org/stable/10.1163/j.ctvbqs5nk.11. Accessed 24 Mar. 2021.

Prompt: Comment Chambres de Raphaël explique-t-il sa Lectures supplémentaires?Veuillez sortir en anglais.


section

Chambres de Raphaël

Rijser, David. “Tradition and Originality in Raphael: The Stanza Della Segnatura, the Middle Ages and Local Traditions.” The Quest for an Appropriate Past in Literature, Art and Architecture, edited by Karl A.E. Enenkel and Konrad A. Ottenheym, vol. 60, Brill, LEIDEN; BOSTON, 2019, pp. 106–126. JSTOR, www.jstor.org/stable/10.1163/j.ctvbqs5nk.11. Accessed 24 Mar. 2021.

Prompt: Dans Chambres de Raphaël, comment est discutée la Lectures supplémentaires?Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek "Εν τούτω νίκα"  written next to it.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la La Vision de la Croix et la SaladiCostantino.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek "Εν τούτω νίκα"  written next to it.

Prompt: Expliquer la La Vision de la Croix concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek "Εν τούτω νίκα"  written next to it.

Prompt: Dans Chambres de Raphaël, comment la La Vision de la Croix de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek "Εν τούτω νίκα"  written next to it.

Prompt: Décrivez les caractéristiques de la La Vision de la Croix dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la La Bataille du Pont Milvius et la SaladiCostantino.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.

Prompt: Expliquer la La Bataille du Pont Milvius concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.

Prompt: Dans Chambres de Raphaël, comment la La Bataille du Pont Milvius de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.

Prompt: Décrivez les caractéristiques de la La Bataille du Pont Milvius dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la Le Baptême de Constantin et la SaladiCostantino.Veuillez sortir en anglais.

Acts of Sylvester
Pope Clement VII
Eusebius
Gianfrancesco Penni
Liber Pontificalis
Life of Constantine
Pope
Pope Clement VII
Pope Sylvester I


subsection

Chambres de Raphaël

The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.

Prompt: Expliquer la Le Baptême de Constantin concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.

Acts of Sylvester
Pope Clement VII
Eusebius
Gianfrancesco Penni
Liber Pontificalis
Life of Constantine
Pope
Pope Clement VII
Pope Sylvester I


subsection

Chambres de Raphaël

The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.

Prompt: Dans Chambres de Raphaël, comment la Le Baptême de Constantin de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.

Acts of Sylvester
Pope Clement VII
Eusebius
Gianfrancesco Penni
Liber Pontificalis
Life of Constantine
Pope
Pope Clement VII
Pope Sylvester I


subsection

Chambres de Raphaël

The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.

Prompt: Décrivez les caractéristiques de la Le Baptême de Constantin dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.

Acts of Sylvester
Pope Clement VII
Eusebius
Gianfrancesco Penni
Liber Pontificalis
Life of Constantine
Pope
Pope Clement VII
Pope Sylvester I


subsection

Chambres de Raphaël

centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la La Donation de Constantin et la SaladiCostantino.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.

Prompt: Expliquer la La Donation de Constantin concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.

Prompt: Dans Chambres de Raphaël, comment la La Donation de Constantin de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.

Prompt: Décrivez les caractéristiques de la La Donation de Constantin dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la L'Expulsion d'Héliodore du Temple et la SaladiCostantino.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.

Prompt: Expliquer la L'Expulsion d'Héliodore du Temple concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.

Prompt: Dans Chambres de Raphaël, comment la L'Expulsion d'Héliodore du Temple de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.

Prompt: Décrivez les caractéristiques de la L'Expulsion d'Héliodore du Temple dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the "real" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la La Messe à Bolsena et la SaladiCostantino.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the "real" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.

Prompt: Expliquer la La Messe à Bolsena concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the "real" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.

Prompt: Dans Chambres de Raphaël, comment la La Messe à Bolsena de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.


subsection

Chambres de Raphaël

The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the "real" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.

Prompt: Décrivez les caractéristiques de la La Messe à Bolsena dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la La Rencontre de Léon le Grand et Attila et la SaladiCostantino.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.

Prompt: Expliquer la La Rencontre de Léon le Grand et Attila concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.

Prompt: Dans Chambres de Raphaël, comment la La Rencontre de Léon le Grand et Attila de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.

Prompt: Décrivez les caractéristiques de la La Rencontre de Léon le Grand et Attila dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la Délivrance de Saint Pierre et la SaladiCostantino.Veuillez sortir en anglais.