subsection

Vénus d'Urbin

In 1624, as the Papacy moved to fully annex the duchy to the Papal States, the della Rovere court moved to Pesaro, where the painting hung in the Villa Imperiale. It joined the Medici family collections in 1633 when the last della Rovere, Vittoria della Rovere, married Ferdinando II de' Medici, Grand Duke of Tuscany. It was moved to the Uffizi in 1736, and has remained there ever since, apart from visits to exhibitions which in the 21st century have included Madrid, Brussels, Tokyo, Venice, and Urbino. It has long been famous, as is shown by its prominent placing at the front of the gallery group portrait by Johan Zoffany of the Tribuna of the Uffizi of the 1770s.In his 1880 travelogue A Tramp Abroad, Mark Twain called the Venus of Urbino "the foulest, the vilest, the obscenest picture the world possesses." He proposed that "it was painted for a bagnio [brothel], and it was probably refused because it was a trifle too strong", adding humorously that "in truth, it is a trifle too strong for any place but a public art gallery". Twain does this to juxtapose the artistic license  allowed in painting, as opposed to the restrictions and Victorian morality imposed on literature in the "last eighty or ninety years". In the same passage, Twain also mocks the fig leaves placed in the 19th century on nude statues in Rome, which had "stood in innocent nakedness for ages."The Venus of Urbino was one of the inspirations for Édouard Manet's 1863 Olympia, in which the figure of Venus is replaced with the model Victorine Meurent.

Prompt: Décrivez les caractéristiques de la Histoire ultérieure dans la Description de Vénus d'Urbin.Veuillez sortir en anglais.

A Tramp Abroad
Ferdinando II de' Medici
Johan Zoffany
Mark Twain
Papal States
Pesaro
Uffizi
Venice
Victorine Meurent
Vittoria della Rovere
Édouard Manet


section

La Leçon d'anatomie du docteur Tulp

The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrandt. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename  as opposed to the monogram RHL , and is thus a sign of his growing artistic confidence.

Prompt: Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Abstrait.Veuillez sortir en anglais.

Anatomy
Mauritshuis
Netherlands
Nicolaes Tulp
Rembrandt
Surgeon
The Hague


section

La Leçon d'anatomie du docteur Tulp

The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrandt. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename  as opposed to the monogram RHL , and is thus a sign of his growing artistic confidence.

Prompt: Expliquer la Abstrait de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.

Anatomy
Mauritshuis
Netherlands
Nicolaes Tulp
Rembrandt
Surgeon
The Hague


section

La Leçon d'anatomie du docteur Tulp

The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrandt. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename  as opposed to the monogram RHL , and is thus a sign of his growing artistic confidence.

Prompt: Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Abstrait?Veuillez sortir en anglais.

Anatomy
Mauritshuis
Netherlands
Nicolaes Tulp
Rembrandt
Surgeon
The Hague


section

La Leçon d'anatomie du docteur Tulp

The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrandt. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename  as opposed to the monogram RHL , and is thus a sign of his growing artistic confidence.

Prompt: Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Abstrait?Veuillez sortir en anglais.

Anatomy
Mauritshuis
Netherlands
Nicolaes Tulp
Rembrandt
Surgeon
The Hague


section

La Leçon d'anatomie du docteur Tulp

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost  and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures  probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image  and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica  by Andreas Vesalius.

Prompt: Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Contexte.Veuillez sortir en anglais.

Amsterdam
Anatomy
Rembrandt
Surgeon
Andreas Vesalius


section

La Leçon d'anatomie du docteur Tulp

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost  and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures  probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image  and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica  by Andreas Vesalius.

Prompt: Expliquer la Contexte de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.

Amsterdam
Anatomy
Rembrandt
Surgeon
Andreas Vesalius


section

La Leçon d'anatomie du docteur Tulp

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost  and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures  probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image  and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica  by Andreas Vesalius.

Prompt: Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Contexte?Veuillez sortir en anglais.

Amsterdam
Anatomy
Rembrandt
Surgeon
Andreas Vesalius


section

La Leçon d'anatomie du docteur Tulp

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost  and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures  probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image  and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica  by Andreas Vesalius.

Prompt: Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Contexte?Veuillez sortir en anglais.

Amsterdam
Anatomy
Rembrandt
Surgeon
Andreas Vesalius


section

La Leçon d'anatomie du docteur Tulp

The corpse is that of the criminal Aris Kindt , who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded,Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in ird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.

Prompt: Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Le cadavre.Veuillez sortir en anglais.

Amsterdam
Anatomy
Rembrandt
The Rings of Saturn
W. G. Sebald


section

La Leçon d'anatomie du docteur Tulp

The corpse is that of the criminal Aris Kindt , who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded,Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in ird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.

Prompt: Expliquer la Le cadavre de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.

Amsterdam
Anatomy
Rembrandt
The Rings of Saturn
W. G. Sebald


section

La Leçon d'anatomie du docteur Tulp

The corpse is that of the criminal Aris Kindt , who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded,Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in ird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.

Prompt: Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Le cadavre?Veuillez sortir en anglais.

Amsterdam
Anatomy
Rembrandt
The Rings of Saturn
W. G. Sebald


section

La Leçon d'anatomie du docteur Tulp

The corpse is that of the criminal Aris Kindt , who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded,Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in ird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.

Prompt: Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Le cadavre?Veuillez sortir en anglais.

Amsterdam
Anatomy
Rembrandt
The Rings of Saturn
W. G. Sebald


section

La Leçon d'anatomie du docteur Tulp

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.

Prompt: Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Travauxconnexes.Veuillez sortir en anglais.

African National Congress
Amsterdam
Anatomy
Cyril Ramaphosa
Desmond Tutu
F. W. de Klerk
Helen Zille
Jacob Zuma
Nelson Mandela
Nicolaes Tulp
Nkosi Johnson
Rembrandt
South Africa
Susan Dorothea White
Thabo Mbeki
The Agnew Clinic
The Anatomy Lesson of Dr. Deijman
The Gross Clinic
The Hague
Thomas Eakins
Trevor Manuel
Édouard Manet


section

La Leçon d'anatomie du docteur Tulp

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.

Prompt: Expliquer la Travauxconnexes de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.

African National Congress
Amsterdam
Anatomy
Cyril Ramaphosa
Desmond Tutu
F. W. de Klerk
Helen Zille
Jacob Zuma
Nelson Mandela
Nicolaes Tulp
Nkosi Johnson
Rembrandt
South Africa
Susan Dorothea White
Thabo Mbeki
The Agnew Clinic
The Anatomy Lesson of Dr. Deijman
The Gross Clinic
The Hague
Thomas Eakins
Trevor Manuel
Édouard Manet


section

La Leçon d'anatomie du docteur Tulp

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.

Prompt: Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Travauxconnexes?Veuillez sortir en anglais.

African National Congress
Amsterdam
Anatomy
Cyril Ramaphosa
Desmond Tutu
F. W. de Klerk
Helen Zille
Jacob Zuma
Nelson Mandela
Nicolaes Tulp
Nkosi Johnson
Rembrandt
South Africa
Susan Dorothea White
Thabo Mbeki
The Agnew Clinic
The Anatomy Lesson of Dr. Deijman
The Gross Clinic
The Hague
Thomas Eakins
Trevor Manuel
Édouard Manet


section

La Leçon d'anatomie du docteur Tulp

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.

Prompt: Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Travauxconnexes?Veuillez sortir en anglais.

African National Congress
Amsterdam
Anatomy
Cyril Ramaphosa
Desmond Tutu
F. W. de Klerk
Helen Zille
Jacob Zuma
Nelson Mandela
Nicolaes Tulp
Nkosi Johnson
Rembrandt
South Africa
Susan Dorothea White
Thabo Mbeki
The Agnew Clinic
The Anatomy Lesson of Dr. Deijman
The Gross Clinic
The Hague
Thomas Eakins
Trevor Manuel
Édouard Manet


section

La Leçon d'anatomie du docteur Tulp

The Body Snatcher  quotes this scene when Dr. Macfarlane dissects a cadaver in front of his medical students.In Asterix and the Soothsayer , Uderzo and Goscinny referenced the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague  when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator  and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer_ features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in touch with the game's themes of transhumanism.Featured in episode 14 of the Korean drama Hush .Featured in the American horror film False Positive .Dr. Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Dr. Tulp's hat in the painting.

Prompt: Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Danslaculturepopulaire.Veuillez sortir en anglais.

Amsterdam
Amsterdam University Medical Center
Anatomy
Anthony Fauci
Asterix and the Soothsayer
Deus Ex: Human Revolution
Donna Tartt
Gunther von Hagens


section

La Leçon d'anatomie du docteur Tulp

The Body Snatcher  quotes this scene when Dr. Macfarlane dissects a cadaver in front of his medical students.In Asterix and the Soothsayer , Uderzo and Goscinny referenced the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague  when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator  and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer_ features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in touch with the game's themes of transhumanism.Featured in episode 14 of the Korean drama Hush .Featured in the American horror film False Positive .Dr. Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Dr. Tulp's hat in the painting.

Prompt: Expliquer la Danslaculturepopulaire de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.

Amsterdam
Amsterdam University Medical Center
Anatomy
Anthony Fauci
Asterix and the Soothsayer
Deus Ex: Human Revolution
Donna Tartt
Gunther von Hagens


section

La Leçon d'anatomie du docteur Tulp

The Body Snatcher  quotes this scene when Dr. Macfarlane dissects a cadaver in front of his medical students.In Asterix and the Soothsayer , Uderzo and Goscinny referenced the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague  when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator  and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer_ features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in touch with the game's themes of transhumanism.Featured in episode 14 of the Korean drama Hush .Featured in the American horror film False Positive .Dr. Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Dr. Tulp's hat in the painting.

Prompt: Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Danslaculturepopulaire?Veuillez sortir en anglais.

Amsterdam
Amsterdam University Medical Center
Anatomy
Anthony Fauci
Asterix and the Soothsayer
Deus Ex: Human Revolution
Donna Tartt
Gunther von Hagens


section

La Leçon d'anatomie du docteur Tulp

The Body Snatcher  quotes this scene when Dr. Macfarlane dissects a cadaver in front of his medical students.In Asterix and the Soothsayer , Uderzo and Goscinny referenced the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague  when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator  and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer_ features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in touch with the game's themes of transhumanism.Featured in episode 14 of the Korean drama Hush .Featured in the American horror film False Positive .Dr. Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Dr. Tulp's hat in the painting.

Prompt: Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Danslaculturepopulaire?Veuillez sortir en anglais.

Amsterdam
Amsterdam University Medical Center
Anatomy
Anthony Fauci
Asterix and the Soothsayer
Deus Ex: Human Revolution
Donna Tartt
Gunther von Hagens


section

La Leçon d'anatomie du docteur Tulp

The Anatomy Lesson of Dr. Deijman , a lesser-known painting by Rembrandt, now fragmentary, also depicting an anatomical lecture. List of paintings by Rembrandt

Prompt: Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Voir aussi.Veuillez sortir en anglais.

Anatomy
List of paintings by Rembrandt
Rembrandt
The Anatomy Lesson of Dr. Deijman


section

La Leçon d'anatomie du docteur Tulp

The Anatomy Lesson of Dr. Deijman , a lesser-known painting by Rembrandt, now fragmentary, also depicting an anatomical lecture. List of paintings by Rembrandt

Prompt: Expliquer la Voir aussi de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.

Anatomy
List of paintings by Rembrandt
Rembrandt
The Anatomy Lesson of Dr. Deijman


section

La Leçon d'anatomie du docteur Tulp

The Anatomy Lesson of Dr. Deijman , a lesser-known painting by Rembrandt, now fragmentary, also depicting an anatomical lecture. List of paintings by Rembrandt

Prompt: Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Voir aussi?Veuillez sortir en anglais.

Anatomy
List of paintings by Rembrandt
Rembrandt
The Anatomy Lesson of Dr. Deijman


section

La Leçon d'anatomie du docteur Tulp

The Anatomy Lesson of Dr. Deijman , a lesser-known painting by Rembrandt, now fragmentary, also depicting an anatomical lecture. List of paintings by Rembrandt

Prompt: Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Voir aussi?Veuillez sortir en anglais.

Anatomy
List of paintings by Rembrandt
Rembrandt
The Anatomy Lesson of Dr. Deijman


section

La Leçon d'anatomie du docteur Tulp

Heller, Joseph , Picture This, Scribner Paperback Fiction,

Prompt: Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Références.Veuillez sortir en anglais.


section

La Leçon d'anatomie du docteur Tulp

Heller, Joseph , Picture This, Scribner Paperback Fiction,

Prompt: Expliquer la Références de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.


section

La Leçon d'anatomie du docteur Tulp

Heller, Joseph , Picture This, Scribner Paperback Fiction,

Prompt: Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Références?Veuillez sortir en anglais.


section

La Leçon d'anatomie du docteur Tulp

Heller, Joseph , Picture This, Scribner Paperback Fiction,

Prompt: Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Références?Veuillez sortir en anglais.


section

La Leçon d'anatomie du docteur Tulp

Discussion by Janina Ramirez and Adam Rutherford:

Prompt: Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Liensexternes.Veuillez sortir en anglais.


section

La Leçon d'anatomie du docteur Tulp

Discussion by Janina Ramirez and Adam Rutherford:

Prompt: Expliquer la Liensexternes de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.


section

La Leçon d'anatomie du docteur Tulp

Discussion by Janina Ramirez and Adam Rutherford:

Prompt: Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Liensexternes?Veuillez sortir en anglais.


section

La Leçon d'anatomie du docteur Tulp

Discussion by Janina Ramirez and Adam Rutherford:

Prompt: Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Liensexternes?Veuillez sortir en anglais.


section

Chimère d'Arezzo

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

Prompt: Concentrez-vous sur Chimère d'Arezzo et expliquez la Abstrait.Veuillez sortir en anglais.


section

Chimère d'Arezzo

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

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


section

Chimère d'Arezzo

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

Prompt: Comment Chimère d'Arezzo explique-t-il sa Abstrait?Veuillez sortir en anglais.


section

Chimère d'Arezzo

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

Prompt: Dans Chimère d'Arezzo, comment est discutée la Abstrait?Veuillez sortir en anglais.


section

Chimère d'Arezzo

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

Prompt: Concentrez-vous sur Chimère d'Arezzo et expliquez la Histoire.Veuillez sortir en anglais.

Anatolia
Arezzo
Arezzo
Bellerophon
Etruscan language
Francesco Carradori
Getty Villa
Giorgio Vasari
Grand Duchy of Tuscany
Greek mythology
Iobates
Lycia
Pegasus
Proetus
Tinia
Tuscany
Typhon
Uffizi
Uffizi
Votive offering
Votive offering


section

Chimère d'Arezzo

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

Prompt: Expliquer la Histoire de cette œuvre d'art, Chimère d'Arezzo.Veuillez sortir en anglais.

Anatolia
Arezzo
Arezzo
Bellerophon
Etruscan language
Francesco Carradori
Getty Villa
Giorgio Vasari
Grand Duchy of Tuscany
Greek mythology
Iobates
Lycia
Pegasus
Proetus
Tinia
Tuscany
Typhon
Uffizi
Uffizi
Votive offering
Votive offering


section

Chimère d'Arezzo

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

Prompt: Comment Chimère d'Arezzo explique-t-il sa Histoire?Veuillez sortir en anglais.

Anatolia
Arezzo
Arezzo
Bellerophon
Etruscan language
Francesco Carradori
Getty Villa
Giorgio Vasari
Grand Duchy of Tuscany
Greek mythology
Iobates
Lycia
Pegasus
Proetus
Tinia
Tuscany
Typhon
Uffizi
Uffizi
Votive offering
Votive offering


section

Chimère d'Arezzo

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

Prompt: Dans Chimère d'Arezzo, comment est discutée la Histoire?Veuillez sortir en anglais.

Anatolia
Arezzo
Arezzo
Bellerophon
Etruscan language
Francesco Carradori
Getty Villa
Giorgio Vasari
Grand Duchy of Tuscany
Greek mythology
Iobates
Lycia
Pegasus
Proetus
Tinia
Tuscany
Typhon
Uffizi
Uffizi
Votive offering
Votive offering


section

Chimère d'Arezzo

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE.

Prompt: Concentrez-vous sur Chimère d'Arezzo et expliquez la Iconographie.Veuillez sortir en anglais.


section

Chimère d'Arezzo

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE.

Prompt: Expliquer la Iconographie de cette œuvre d'art, Chimère d'Arezzo.Veuillez sortir en anglais.


section

Chimère d'Arezzo

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE.

Prompt: Comment Chimère d'Arezzo explique-t-il sa Iconographie?Veuillez sortir en anglais.


section

Chimère d'Arezzo

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE.

Prompt: Dans Chimère d'Arezzo, comment est discutée la Iconographie?Veuillez sortir en anglais.


section

Chimère d'Arezzo

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

Prompt: Concentrez-vous sur Chimère d'Arezzo et expliquez la Méthodes et matériaux.Veuillez sortir en anglais.


section

Chimère d'Arezzo

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

Prompt: Expliquer la Méthodes et matériaux de cette œuvre d'art, Chimère d'Arezzo.Veuillez sortir en anglais.


section

Chimère d'Arezzo

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

Prompt: Comment Chimère d'Arezzo explique-t-il sa Méthodes et matériaux?Veuillez sortir en anglais.


section

Chimère d'Arezzo

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

Prompt: Dans Chimère d'Arezzo, comment est discutée la Méthodes et matériaux?Veuillez sortir en anglais.


section

Chimère d'Arezzo

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

Prompt: Concentrez-vous sur Chimère d'Arezzo et expliquez la Expositions.Veuillez sortir en anglais.

Bronze
Getty Villa
Royal Academy of Arts


section

Chimère d'Arezzo

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

Prompt: Expliquer la Expositions de cette œuvre d'art, Chimère d'Arezzo.Veuillez sortir en anglais.

Bronze
Getty Villa
Royal Academy of Arts


section

Chimère d'Arezzo

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

Prompt: Comment Chimère d'Arezzo explique-t-il sa Expositions?Veuillez sortir en anglais.

Bronze
Getty Villa
Royal Academy of Arts


section

Chimère d'Arezzo

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

Prompt: Dans Chimère d'Arezzo, comment est discutée la Expositions?Veuillez sortir en anglais.

Bronze
Getty Villa
Royal Academy of Arts


section

Chimère d'Arezzo

Capitoline Wolf, a bronze long thought to be of 4th-century BCE Etruscan origin, but possibly medieval.

Prompt: Concentrez-vous sur Chimère d'Arezzo et expliquez la Voir aussi.Veuillez sortir en anglais.


section

Chimère d'Arezzo

Capitoline Wolf, a bronze long thought to be of 4th-century BCE Etruscan origin, but possibly medieval.

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


section

Chimère d'Arezzo

Capitoline Wolf, a bronze long thought to be of 4th-century BCE Etruscan origin, but possibly medieval.

Prompt: Comment Chimère d'Arezzo explique-t-il sa Voir aussi?Veuillez sortir en anglais.


section

Chimère d'Arezzo

Capitoline Wolf, a bronze long thought to be of 4th-century BCE Etruscan origin, but possibly medieval.

Prompt: Dans Chimère d'Arezzo, comment est discutée la Voir aussi?Veuillez sortir en anglais.


subsection

Chimère d'Arezzo

The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern zio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period , the Archaic Period , and the Hellenistic Period .

Prompt: Dans le contexte de Chimère d'Arezzo, expliquez la Les Étrusques et la Histoire.Veuillez sortir en anglais.

Ancient Greek
Etruria
Etruscan art
Etruscan civilization
Phoenicia
Roman Republic
Roman–Etruscan Wars
Tuscany
Umbria


subsection

Chimère d'Arezzo

The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern zio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period , the Archaic Period , and the Hellenistic Period .

Prompt: Expliquer la Les Étrusques concernant la Histoire de cette œuvre d'art, Chimère d'Arezzo.Veuillez sortir en anglais.

Ancient Greek
Etruria
Etruscan art
Etruscan civilization
Phoenicia
Roman Republic
Roman–Etruscan Wars
Tuscany
Umbria


subsection

Chimère d'Arezzo

The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern zio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period , the Archaic Period , and the Hellenistic Period .

Prompt: Dans Chimère d'Arezzo, comment la Les Étrusques de la Histoire est-elle expliquée?Veuillez sortir en anglais.

Ancient Greek
Etruria
Etruscan art
Etruscan civilization
Phoenicia
Roman Republic
Roman–Etruscan Wars
Tuscany
Umbria


subsection

Chimère d'Arezzo

The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern zio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period , the Archaic Period , and the Hellenistic Period .

Prompt: Décrivez les caractéristiques de la Les Étrusques dans la Histoire de Chimère d'Arezzo.Veuillez sortir en anglais.

Ancient Greek
Etruria
Etruscan art
Etruscan civilization
Phoenicia
Roman Republic
Roman–Etruscan Wars
Tuscany
Umbria


subsection

Chimère d'Arezzo

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo , the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.

Prompt: Dans le contexte de Chimère d'Arezzo, expliquez la La découverte et la Histoire.Veuillez sortir en anglais.

Ancient Greek
Arezzo
Arezzo
Benvenuto Cellini
Giorgio Vasari
Palazzo Pitti
Palazzo Vecchio
Tuscany


subsection

Chimère d'Arezzo

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo , the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.

Prompt: Expliquer la La découverte concernant la Histoire de cette œuvre d'art, Chimère d'Arezzo.Veuillez sortir en anglais.

Ancient Greek
Arezzo
Arezzo
Benvenuto Cellini
Giorgio Vasari
Palazzo Pitti
Palazzo Vecchio
Tuscany


subsection

Chimère d'Arezzo

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo , the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.

Prompt: Dans Chimère d'Arezzo, comment la La découverte de la Histoire est-elle expliquée?Veuillez sortir en anglais.

Ancient Greek
Arezzo
Arezzo
Benvenuto Cellini
Giorgio Vasari
Palazzo Pitti
Palazzo Vecchio
Tuscany


subsection

Chimère d'Arezzo

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo , the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.

Prompt: Décrivez les caractéristiques de la La découverte dans la Histoire de Chimère d'Arezzo.Veuillez sortir en anglais.

Ancient Greek
Arezzo
Arezzo
Benvenuto Cellini
Giorgio Vasari
Palazzo Pitti
Palazzo Vecchio
Tuscany


section

La Mort de Marat

The Death of Marat  is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.

Prompt: Concentrez-vous sur La Mort de Marat et expliquez la Abstrait.Veuillez sortir en anglais.

Charlotte Corday
Committee of General Security
French Revolution
Jacques-Louis David
Jean-Paul Marat
Louvre


section

La Mort de Marat

The Death of Marat  is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.

Prompt: Expliquer la Abstrait de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.

Charlotte Corday
Committee of General Security
French Revolution
Jacques-Louis David
Jean-Paul Marat
Louvre


section

La Mort de Marat

The Death of Marat  is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.

Prompt: Comment La Mort de Marat explique-t-il sa Abstrait?Veuillez sortir en anglais.

Charlotte Corday
Committee of General Security
French Revolution
Jacques-Louis David
Jean-Paul Marat
Louvre


section

La Mort de Marat

The Death of Marat  is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.

Prompt: Dans La Mort de Marat, comment est discutée la Abstrait?Veuillez sortir en anglais.

Charlotte Corday
Committee of General Security
French Revolution
Jacques-Louis David
Jean-Paul Marat
Louvre


section

La Mort de Marat

Jean-Paul Marat  was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances .Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.

Prompt: Concentrez-vous sur La Mort de Marat et expliquez la L'assassinat de Marat.Veuillez sortir en anglais.

Charlotte Corday
French Revolution
Jean-Paul Marat
L'Ami du peuple
Reign of Terror
Thermidorian Reaction


section

La Mort de Marat

Jean-Paul Marat  was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances .Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.

Prompt: Expliquer la L'assassinat de Marat de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.

Charlotte Corday
French Revolution
Jean-Paul Marat
L'Ami du peuple
Reign of Terror
Thermidorian Reaction


section

La Mort de Marat

Jean-Paul Marat  was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances .Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.

Prompt: Comment La Mort de Marat explique-t-il sa L'assassinat de Marat?Veuillez sortir en anglais.

Charlotte Corday
French Revolution
Jean-Paul Marat
L'Ami du peuple
Reign of Terror
Thermidorian Reaction


section

La Mort de Marat

Jean-Paul Marat  was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances .Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.

Prompt: Dans La Mort de Marat, comment est discutée la L'assassinat de Marat?Veuillez sortir en anglais.

Charlotte Corday
French Revolution
Jean-Paul Marat
L'Ami du peuple
Reign of Terror
Thermidorian Reaction


section

La Mort de Marat

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.

Prompt: Concentrez-vous sur La Mort de Marat et expliquez la la politique de David.Veuillez sortir en anglais.

Committee of General Security
Committee of Public Instruction
Louis XVI
National Convention


section

La Mort de Marat

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.

Prompt: Expliquer la la politique de David de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.

Committee of General Security
Committee of Public Instruction
Louis XVI
National Convention


section

La Mort de Marat

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.

Prompt: Comment La Mort de Marat explique-t-il sa la politique de David?Veuillez sortir en anglais.

Committee of General Security
Committee of Public Instruction
Louis XVI
National Convention


section

La Mort de Marat

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.

Prompt: Dans La Mort de Marat, comment est discutée la la politique de David?Veuillez sortir en anglais.

Committee of General Security
Committee of Public Instruction
Louis XVI
National Convention


section

La Mort de Marat

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marats drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.

Prompt: Concentrez-vous sur La Mort de Marat et expliquez la Style.Veuillez sortir en anglais.


section

La Mort de Marat

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marats drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.

Prompt: Expliquer la Style de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.


section

La Mort de Marat

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marats drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.

Prompt: Comment La Mort de Marat explique-t-il sa Style?Veuillez sortir en anglais.


section

La Mort de Marat

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marats drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.

Prompt: Dans La Mort de Marat, comment est discutée la Style?Veuillez sortir en anglais.


section

La Mort de Marat

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets  and writers .  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.

Prompt: Concentrez-vous sur La Mort de Marat et expliquez la Histoire ultérieure.Veuillez sortir en anglais.

Charles Baudelaire
Charlotte Corday
Edvard Munch
Pablo Picasso
Pierre-Joseph Proudhon
Reign of Terror
Robert Lindsay, 29th Earl of Crawford


section

La Mort de Marat

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets  and writers .  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.

Prompt: Expliquer la Histoire ultérieure de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.

Charles Baudelaire
Charlotte Corday
Edvard Munch
Pablo Picasso
Pierre-Joseph Proudhon
Reign of Terror
Robert Lindsay, 29th Earl of Crawford


section

La Mort de Marat

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets  and writers .  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.

Prompt: Comment La Mort de Marat explique-t-il sa Histoire ultérieure?Veuillez sortir en anglais.

Charles Baudelaire
Charlotte Corday
Edvard Munch
Pablo Picasso
Pierre-Joseph Proudhon
Reign of Terror
Robert Lindsay, 29th Earl of Crawford


section

La Mort de Marat

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets  and writers .  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.

Prompt: Dans La Mort de Marat, comment est discutée la Histoire ultérieure?Veuillez sortir en anglais.

Charles Baudelaire
Charlotte Corday
Edvard Munch
Pablo Picasso
Pierre-Joseph Proudhon
Reign of Terror
Robert Lindsay, 29th Earl of Crawford