subsection

La Joconde

After the French Revolution, the painting was moved to the Louvre, but spent a brief period in the bedroom of Napoleon  in the Tuileries Palace. During the Franco-Prussian War , the painting was moved from the Louvre to the Brest Arsenal. In 1911, the painting was still not popular among the lay-public. On 21 August 1911, the painting was stolen from the Louvre. The painting was first reported missing the next day by painter Louis Béroud. After some confusion as to whether the painting was being photographed somewhere, the Louvre was closed for a week for investigation. French poet Guillaume Apollinaire came under suspicion and was arrested and imprisoned. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning. Both were later exonerated. The real culprit was Louvre employee Vincenzo Peruggia, who had helped construct the painting's glass case. He carried out the theft by entering the building during regular hours, hiding in a broom closet, and walking out with the painting hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed that Leonardo's painting should have been returned to an Italian museum. Peruggia may have been motivated by an associate whose copies of the original would significantly rise in value after the painting's theft. After having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to Giovanni Poggi, director of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on 4 January 1914. Peruggia served six months in prison for the crime and was hailed for his patriotism in Italy.In recent decades, the painting has been temporarily moved to accommodate renovations to the Louvre on three occasions: between 1992 and 1995, from 2001 to 2005, and again in 2019. A new queuing system introduced in 2019 reduces the amount of time museum visitors have to wait in line to see the painting. After going through the queue, a group has about 30 seconds to see the painting.On 30 December 1956, Bolivian Ugo Ungaza Villegas threw a rock at the Mona Lisa while it was on display at the Louvre. He did so with such force that it shattered the glass case and dislodged a speck of pigment near the left elbow. The painting was protected by glass because a few years earlier a man who claimed to be in love with the painting had cut it with a razor blade and tried to steal it. Since then, bulletproof glass has been used to shield the painting from any further attacks. Subsequently, on 21 April 1974, while the painting was on display at the Tokyo National Museum, a woman sprayed it with red paint as a protest against that museum's failure to provide access for disabled people. On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.On 29 May 2022, a male activist, disguised as a woman in a wheelchair, threw cake at the protective glass covering the painting in an apparent attempt to raise awareness for climate change. The painting was not damaged. The man was arrested and placed in psychiatric care in the police headquarters. An investigation was opened after the Louvre filed a complaint. On 28 January 2024, two attackers from the environmentalist group Riposte Alimentaire  threw soup at the painting's protective glass, demanding the right to "healthy and sustainable food" and criticizing the contemporary state of agriculture.

Prompt: Décrivez les caractéristiques de la Refuge, vol, vandalisme dans la Héritage de La Joconde.Veuillez sortir en anglais.

Brest Arsenal
Florence
Franco-Prussian War
French Revolution
Guillaume Apollinaire
Italy
Louis Béroud
Louvre
Louvre
Napoleon
Pablo Picasso


subsection

La Joconde

In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.

Prompt: Dans le contexte de La Joconde, expliquez la analyse moderne et la Héritage.Veuillez sortir en anglais.


subsection

La Joconde

In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.

Prompt: Expliquer la analyse moderne concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.


subsection

La Joconde

In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.

Prompt: Dans La Joconde, comment la analyse moderne de la Héritage est-elle expliquée?Veuillez sortir en anglais.


subsection

La Joconde

In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.

Prompt: Décrivez les caractéristiques de la analyse moderne dans la Héritage de La Joconde.Veuillez sortir en anglais.


subsection

La Joconde

At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50% ±10%, and the temperature is maintained between 18 and 21 °C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.

Prompt: Dans le contexte de La Joconde, expliquez la Panneau de peuplier et la Héritage.Veuillez sortir en anglais.


subsection

La Joconde

At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50% ±10%, and the temperature is maintained between 18 and 21 °C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.

Prompt: Expliquer la Panneau de peuplier concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.


subsection

La Joconde

At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50% ±10%, and the temperature is maintained between 18 and 21 °C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.

Prompt: Dans La Joconde, comment la Panneau de peuplier de la Héritage est-elle expliquée?Veuillez sortir en anglais.


subsection

La Joconde

At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50% ±10%, and the temperature is maintained between 18 and 21 °C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.

Prompt: Décrivez les caractéristiques de la Panneau de peuplier dans la Héritage de La Joconde.Veuillez sortir en anglais.


subsection

La Joconde

Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.

Prompt: Dans le contexte de La Joconde, expliquez la Cadre et la Héritage.Veuillez sortir en anglais.


subsection

La Joconde

Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.

Prompt: Expliquer la Cadre concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.


subsection

La Joconde

Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.

Prompt: Dans La Joconde, comment la Cadre de la Héritage est-elle expliquée?Veuillez sortir en anglais.


subsection

La Joconde

Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.

Prompt: Décrivez les caractéristiques de la Cadre dans la Héritage de La Joconde.Veuillez sortir en anglais.


subsection

La Joconde

The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.

Prompt: Dans le contexte de La Joconde, expliquez la Nettoyage, retouche et la Héritage.Veuillez sortir en anglais.


subsection

La Joconde

The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.

Prompt: Expliquer la Nettoyage, retouche concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.


subsection

La Joconde

The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.

Prompt: Dans La Joconde, comment la Nettoyage, retouche de la Héritage est-elle expliquée?Veuillez sortir en anglais.


subsection

La Joconde

The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.

Prompt: Décrivez les caractéristiques de la Nettoyage, retouche dans la Héritage de La Joconde.Veuillez sortir en anglais.


subsection

La Joconde

On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2 million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.

Prompt: Dans le contexte de La Joconde, expliquez la Afficher et la Héritage.Veuillez sortir en anglais.


subsection

La Joconde

On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2 million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.

Prompt: Expliquer la Afficher concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.


subsection

La Joconde

On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2 million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.

Prompt: Dans La Joconde, comment la Afficher de la Héritage est-elle expliquée?Veuillez sortir en anglais.


subsection

La Joconde

On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2 million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.

Prompt: Décrivez les caractéristiques de la Afficher dans la Héritage de La Joconde.Veuillez sortir en anglais.


subsection

La Joconde

Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it "the most celebrated work of Leonardo in the Louvre", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in "300 paintings and 2,000 advertisements".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7 million people queued "in order to cast a glance at the Mona Lisa for 20 seconds or so."In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3 million people visited the Louvre. Former director Henri Loyrette reckoned that "80 percent of the people only want to see the Mona Lisa."

Prompt: Dans le contexte de La Joconde, expliquez la Renommée et la Héritage.Veuillez sortir en anglais.

Baedeker
Francis I of France
French Revolution
Henri Loyrette
Francis I of France
Louvre
Louvre


subsection

La Joconde

Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it "the most celebrated work of Leonardo in the Louvre", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in "300 paintings and 2,000 advertisements".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7 million people queued "in order to cast a glance at the Mona Lisa for 20 seconds or so."In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3 million people visited the Louvre. Former director Henri Loyrette reckoned that "80 percent of the people only want to see the Mona Lisa."

Prompt: Expliquer la Renommée concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.

Baedeker
Francis I of France
French Revolution
Henri Loyrette
Francis I of France
Louvre
Louvre


subsection

La Joconde

Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it "the most celebrated work of Leonardo in the Louvre", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in "300 paintings and 2,000 advertisements".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7 million people queued "in order to cast a glance at the Mona Lisa for 20 seconds or so."In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3 million people visited the Louvre. Former director Henri Loyrette reckoned that "80 percent of the people only want to see the Mona Lisa."

Prompt: Dans La Joconde, comment la Renommée de la Héritage est-elle expliquée?Veuillez sortir en anglais.

Baedeker
Francis I of France
French Revolution
Henri Loyrette
Francis I of France
Louvre
Louvre


subsection

La Joconde

Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it "the most celebrated work of Leonardo in the Louvre", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in "300 paintings and 2,000 advertisements".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7 million people queued "in order to cast a glance at the Mona Lisa for 20 seconds or so."In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3 million people visited the Louvre. Former director Henri Loyrette reckoned that "80 percent of the people only want to see the Mona Lisa."

Prompt: Décrivez les caractéristiques de la Renommée dans la Héritage de La Joconde.Veuillez sortir en anglais.

Baedeker
Francis I of France
French Revolution
Henri Loyrette
Francis I of France
Louvre
Louvre


subsection

La Joconde

Before the 1962–1963 tour, the painting was assessed for insurance at $100 million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, "Collections held in museums that belong to public bodies are considered public property and cannot be otherwise."

Prompt: Dans le contexte de La Joconde, expliquez la valeur financière et la Héritage.Veuillez sortir en anglais.


subsection

La Joconde

Before the 1962–1963 tour, the painting was assessed for insurance at $100 million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, "Collections held in museums that belong to public bodies are considered public property and cannot be otherwise."

Prompt: Expliquer la valeur financière concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.


subsection

La Joconde

Before the 1962–1963 tour, the painting was assessed for insurance at $100 million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, "Collections held in museums that belong to public bodies are considered public property and cannot be otherwise."

Prompt: Dans La Joconde, comment la valeur financière de la Héritage est-elle expliquée?Veuillez sortir en anglais.


subsection

La Joconde

Before the 1962–1963 tour, the painting was assessed for insurance at $100 million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, "Collections held in museums that belong to public bodies are considered public property and cannot be otherwise."

Prompt: Décrivez les caractéristiques de la valeur financière dans la Héritage de La Joconde.Veuillez sortir en anglais.


subsection

La Joconde

Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song "Mona Lisa" recorded by Nat King Cole.  The 2011 song "The Ballad of Mona Lisa" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.

Prompt: Dans le contexte de La Joconde, expliquez la Représentations culturelles et la Héritage.Veuillez sortir en anglais.

Glass Onion: A Knives Out Mystery
Nat King Cole
Panic! at the Disco


subsection

La Joconde

Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song "Mona Lisa" recorded by Nat King Cole.  The 2011 song "The Ballad of Mona Lisa" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.

Prompt: Expliquer la Représentations culturelles concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.

Glass Onion: A Knives Out Mystery
Nat King Cole
Panic! at the Disco


subsection

La Joconde

Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song "Mona Lisa" recorded by Nat King Cole.  The 2011 song "The Ballad of Mona Lisa" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.

Prompt: Dans La Joconde, comment la Représentations culturelles de la Héritage est-elle expliquée?Veuillez sortir en anglais.

Glass Onion: A Knives Out Mystery
Nat King Cole
Panic! at the Disco


subsection

La Joconde

Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song "Mona Lisa" recorded by Nat King Cole.  The 2011 song "The Ballad of Mona Lisa" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.

Prompt: Décrivez les caractéristiques de la Représentations culturelles dans la Héritage de La Joconde.Veuillez sortir en anglais.

Glass Onion: A Knives Out Mystery
Nat King Cole
Panic! at the Disco


subsection

La Joconde

A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.

Prompt: Dans le contexte de La Joconde, expliquez la Prado Musée La Joconde et la Héritage.Veuillez sortir en anglais.


subsection

La Joconde

A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.

Prompt: Expliquer la Prado Musée La Joconde concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.


subsection

La Joconde

A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.

Prompt: Dans La Joconde, comment la Prado Musée La Joconde de la Héritage est-elle expliquée?Veuillez sortir en anglais.


subsection

La Joconde

A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.

Prompt: Décrivez les caractéristiques de la Prado Musée La Joconde dans la Héritage de La Joconde.Veuillez sortir en anglais.


subsection

La Joconde

A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.

Prompt: Dans le contexte de La Joconde, expliquez la IsleworthMonaLisa et la Héritage.Veuillez sortir en anglais.

Alessandro Vezzosi
Carlo Pedretti
Frank Zöllner
Hugh Blaker
Isleworth Mona Lisa
Leonardo da Vinci
Luke Syson
Martin Kemp


subsection

La Joconde

A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.

Prompt: Expliquer la IsleworthMonaLisa concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.

Alessandro Vezzosi
Carlo Pedretti
Frank Zöllner
Hugh Blaker
Isleworth Mona Lisa
Leonardo da Vinci
Luke Syson
Martin Kemp


subsection

La Joconde

A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.

Prompt: Dans La Joconde, comment la IsleworthMonaLisa de la Héritage est-elle expliquée?Veuillez sortir en anglais.

Alessandro Vezzosi
Carlo Pedretti
Frank Zöllner
Hugh Blaker
Isleworth Mona Lisa
Leonardo da Vinci
Luke Syson
Martin Kemp


subsection

La Joconde

A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.

Prompt: Décrivez les caractéristiques de la IsleworthMonaLisa dans la Héritage de La Joconde.Veuillez sortir en anglais.

Alessandro Vezzosi
Carlo Pedretti
Frank Zöllner
Hugh Blaker
Isleworth Mona Lisa
Leonardo da Vinci
Luke Syson
Martin Kemp


subsection

La Joconde

A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.

Prompt: Dans le contexte de La Joconde, expliquez la Hermitage Mona Lisa et la Héritage.Veuillez sortir en anglais.


subsection

La Joconde

A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.

Prompt: Expliquer la Hermitage Mona Lisa concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.


subsection

La Joconde

A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.

Prompt: Dans La Joconde, comment la Hermitage Mona Lisa de la Héritage est-elle expliquée?Veuillez sortir en anglais.


subsection

La Joconde

A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.

Prompt: Décrivez les caractéristiques de la Hermitage Mona Lisa dans la Héritage de La Joconde.Veuillez sortir en anglais.


section

Salon des refusés

The Salon des Refusés, French for "exhibition of rejects" , is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.

Prompt: Concentrez-vous sur Salon des refusés et expliquez la Abstrait.Veuillez sortir en anglais.


section

Salon des refusés

The Salon des Refusés, French for "exhibition of rejects" , is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.

Prompt: Expliquer la Abstrait de cette œuvre d'art, Salon des refusés.Veuillez sortir en anglais.


section

Salon des refusés

The Salon des Refusés, French for "exhibition of rejects" , is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.

Prompt: Comment Salon des refusés explique-t-il sa Abstrait?Veuillez sortir en anglais.


section

Salon des refusés

The Salon des Refusés, French for "exhibition of rejects" , is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.

Prompt: Dans Salon des refusés, comment est discutée la Abstrait?Veuillez sortir en anglais.


section

Salon des refusés

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was a exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.

Prompt: Concentrez-vous sur Salon des refusés et expliquez la Contexte du Salon de 1863.Veuillez sortir en anglais.


section

Salon des refusés

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was a exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.

Prompt: Expliquer la Contexte du Salon de 1863 de cette œuvre d'art, Salon des refusés.Veuillez sortir en anglais.


section

Salon des refusés

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was a exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.

Prompt: Comment Salon des refusés explique-t-il sa Contexte du Salon de 1863?Veuillez sortir en anglais.


section

Salon des refusés

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was a exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.

Prompt: Dans Salon des refusés, comment est discutée la Contexte du Salon de 1863?Veuillez sortir en anglais.


section

Salon des refusés

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system  subject to the review of the general jury of the public."

Prompt: Concentrez-vous sur Salon des refusés et expliquez la Héritage.Veuillez sortir en anglais.


section

Salon des refusés

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system  subject to the review of the general jury of the public."

Prompt: Expliquer la Héritage de cette œuvre d'art, Salon des refusés.Veuillez sortir en anglais.


section

Salon des refusés

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system  subject to the review of the general jury of the public."

Prompt: Comment Salon des refusés explique-t-il sa Héritage?Veuillez sortir en anglais.


section

Salon des refusés

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system  subject to the review of the general jury of the public."

Prompt: Dans Salon des refusés, comment est discutée la Héritage?Veuillez sortir en anglais.


section

Salon des refusés

Salon French art salons and academies Société des Artistes Indépendants Unjuried

Prompt: Concentrez-vous sur Salon des refusés et expliquez la Voir aussi.Veuillez sortir en anglais.


section

Salon des refusés

Salon French art salons and academies Société des Artistes Indépendants Unjuried

Prompt: Expliquer la Voir aussi de cette œuvre d'art, Salon des refusés.Veuillez sortir en anglais.


section

Salon des refusés

Salon French art salons and academies Société des Artistes Indépendants Unjuried

Prompt: Comment Salon des refusés explique-t-il sa Voir aussi?Veuillez sortir en anglais.


section

Salon des refusés

Salon French art salons and academies Société des Artistes Indépendants Unjuried

Prompt: Dans Salon des refusés, comment est discutée la Voir aussi?Veuillez sortir en anglais.


section

Salon des refusés

Brombert, Beth Archer . Édouard Manet: Rebel in a Frock Coat. Boston: Little, Brown.Hauptman, William . "Juries, Protests, and Counter-Exhibitions Before 1850." The Art Bulletin 67 : 97-107.Mainardi, Patricia . Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867.  New Haven: Yale U Pr.Albert Boime, "The Salon des Refuses and the Evolution of Modern Art," Art Quarterly 32 : 411-26Fae Brauer, Rivals and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013.

Prompt: Concentrez-vous sur Salon des refusés et expliquez la Sources.Veuillez sortir en anglais.


section

Salon des refusés

Brombert, Beth Archer . Édouard Manet: Rebel in a Frock Coat. Boston: Little, Brown.Hauptman, William . "Juries, Protests, and Counter-Exhibitions Before 1850." The Art Bulletin 67 : 97-107.Mainardi, Patricia . Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867.  New Haven: Yale U Pr.Albert Boime, "The Salon des Refuses and the Evolution of Modern Art," Art Quarterly 32 : 411-26Fae Brauer, Rivals and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013.

Prompt: Expliquer la Sources de cette œuvre d'art, Salon des refusés.Veuillez sortir en anglais.


section

Salon des refusés

Brombert, Beth Archer . Édouard Manet: Rebel in a Frock Coat. Boston: Little, Brown.Hauptman, William . "Juries, Protests, and Counter-Exhibitions Before 1850." The Art Bulletin 67 : 97-107.Mainardi, Patricia . Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867.  New Haven: Yale U Pr.Albert Boime, "The Salon des Refuses and the Evolution of Modern Art," Art Quarterly 32 : 411-26Fae Brauer, Rivals and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013.

Prompt: Comment Salon des refusés explique-t-il sa Sources?Veuillez sortir en anglais.


section

Salon des refusés

Brombert, Beth Archer . Édouard Manet: Rebel in a Frock Coat. Boston: Little, Brown.Hauptman, William . "Juries, Protests, and Counter-Exhibitions Before 1850." The Art Bulletin 67 : 97-107.Mainardi, Patricia . Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867.  New Haven: Yale U Pr.Albert Boime, "The Salon des Refuses and the Evolution of Modern Art," Art Quarterly 32 : 411-26Fae Brauer, Rivals and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013.

Prompt: Dans Salon des refusés, comment est discutée la Sources?Veuillez sortir en anglais.


subsection

Salon des refusés

Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit Déjeuner sur l'herbe and two other paintings in the 1863 Salon des Refusés. Déjeuner sur l'herbe depicts the juxtaposition of a female nude and a scantily dressed female bather in the background, on a picnic with two fully dressed men in a rural setting. The painting sparked public notoriety and stirred up controversy and has remained controversial, even to this day. There is a discussion of it, from this point of view, in Proust's Remembrance of Things Past.One interpretation of the work is that it depicts the rampant prostitution in the Bois de Boulogne, a large park at the western outskirts of Paris, at the time. This prostitution was common knowledge in Paris, but was considered a taboo subject unsuitable for a painting.Émile Zola comments about Déjeuner sur l'herbe:Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre  .

Prompt: Dans le contexte de Salon des refusés, expliquez la Le déjeuner sur l'herbe et la Contexte du Salon de 1863.Veuillez sortir en anglais.

Bois de Boulogne
L'Œuvre
Paris
Émile Zola


subsection

Salon des refusés

Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit Déjeuner sur l'herbe and two other paintings in the 1863 Salon des Refusés. Déjeuner sur l'herbe depicts the juxtaposition of a female nude and a scantily dressed female bather in the background, on a picnic with two fully dressed men in a rural setting. The painting sparked public notoriety and stirred up controversy and has remained controversial, even to this day. There is a discussion of it, from this point of view, in Proust's Remembrance of Things Past.One interpretation of the work is that it depicts the rampant prostitution in the Bois de Boulogne, a large park at the western outskirts of Paris, at the time. This prostitution was common knowledge in Paris, but was considered a taboo subject unsuitable for a painting.Émile Zola comments about Déjeuner sur l'herbe:Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre  .

Prompt: Expliquer la Le déjeuner sur l'herbe concernant la Contexte du Salon de 1863 de cette œuvre d'art, Salon des refusés.Veuillez sortir en anglais.

Bois de Boulogne
L'Œuvre
Paris
Émile Zola


subsection

Salon des refusés

Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit Déjeuner sur l'herbe and two other paintings in the 1863 Salon des Refusés. Déjeuner sur l'herbe depicts the juxtaposition of a female nude and a scantily dressed female bather in the background, on a picnic with two fully dressed men in a rural setting. The painting sparked public notoriety and stirred up controversy and has remained controversial, even to this day. There is a discussion of it, from this point of view, in Proust's Remembrance of Things Past.One interpretation of the work is that it depicts the rampant prostitution in the Bois de Boulogne, a large park at the western outskirts of Paris, at the time. This prostitution was common knowledge in Paris, but was considered a taboo subject unsuitable for a painting.Émile Zola comments about Déjeuner sur l'herbe:Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre  .

Prompt: Dans Salon des refusés, comment la Le déjeuner sur l'herbe de la Contexte du Salon de 1863 est-elle expliquée?Veuillez sortir en anglais.

Bois de Boulogne
L'Œuvre
Paris
Émile Zola


subsection

Salon des refusés

Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit Déjeuner sur l'herbe and two other paintings in the 1863 Salon des Refusés. Déjeuner sur l'herbe depicts the juxtaposition of a female nude and a scantily dressed female bather in the background, on a picnic with two fully dressed men in a rural setting. The painting sparked public notoriety and stirred up controversy and has remained controversial, even to this day. There is a discussion of it, from this point of view, in Proust's Remembrance of Things Past.One interpretation of the work is that it depicts the rampant prostitution in the Bois de Boulogne, a large park at the western outskirts of Paris, at the time. This prostitution was common knowledge in Paris, but was considered a taboo subject unsuitable for a painting.Émile Zola comments about Déjeuner sur l'herbe:Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre  .

Prompt: Décrivez les caractéristiques de la Le déjeuner sur l'herbe dans la Contexte du Salon de 1863 de Salon des refusés.Veuillez sortir en anglais.

Bois de Boulogne
L'Œuvre
Paris
Émile Zola


subsection

Salon des refusés

In 1861, after returning to Paris for a time, James Abbott McNeill Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. This portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug  with the wolf's head staring menacingly at the viewer.Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.Whistler started working on The White Girl shortly after December 3, 1861, with the intention of submitting it to the prestigious annual exhibition of the Royal Academy. In spite of bouts of illness, he finished the painting by April. The white paint Whistler used contained lead, and his work on the seven-foot-high canvas had given the artist a dose of lead poisoning. The portrait was refused for exhibition at the conservative Royal Academy in London.  Whistler then submitted the painting to the Paris Salon of 1863, where it was also rejected. The public was able to see the painting exhibited with other rejected works, in the Salon des Refusés.  The Salon des Refusés was an event sanctioned by Emperor Napoleon III, to appease the large number of artists who joined forces to protest the harsh jury decisions in 1863 a noted equestrienne of the period, however it was soon rumored that it was actually Catherine Walters, the notorious London courtesan. Whistler's painting was reminiscent enough of ndseer's that the judges were wary of admitting it. White Girl was submitted to the Academy along with three etchings, all three of which were accepted, while the painting was not. Whistler exhibited it at the small Berners Street Gallery in London instead. Instead, it was accepted at the alternative Salon des Refusés – the "exhibition of rejects" that opened on May 15, two weeks after the official Salon.Although Whistler's painting was widely noticed, he was upstaged by Manet's more shocking painting Le déjeuner sur l'herbe. The painting was greatly admired by his colleagues and friends Manet, the painter Gustave Courbet and the poet Charles Baudelaire. The art critic Théophile Thoré-Bürger saw it in the tradition of Goya and Velázquez. There were, however, those who were less favourable; certain French critics saw the English Pre-Raphaelite trend as somewhat eccentric.

Prompt: Dans le contexte de Salon des refusés, expliquez la Symphonie en blanc n°1 et la Contexte du Salon de 1863.Veuillez sortir en anglais.


subsection

Salon des refusés

In 1861, after returning to Paris for a time, James Abbott McNeill Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. This portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug  with the wolf's head staring menacingly at the viewer.Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.Whistler started working on The White Girl shortly after December 3, 1861, with the intention of submitting it to the prestigious annual exhibition of the Royal Academy. In spite of bouts of illness, he finished the painting by April. The white paint Whistler used contained lead, and his work on the seven-foot-high canvas had given the artist a dose of lead poisoning. The portrait was refused for exhibition at the conservative Royal Academy in London.  Whistler then submitted the painting to the Paris Salon of 1863, where it was also rejected. The public was able to see the painting exhibited with other rejected works, in the Salon des Refusés.  The Salon des Refusés was an event sanctioned by Emperor Napoleon III, to appease the large number of artists who joined forces to protest the harsh jury decisions in 1863 a noted equestrienne of the period, however it was soon rumored that it was actually Catherine Walters, the notorious London courtesan. Whistler's painting was reminiscent enough of ndseer's that the judges were wary of admitting it. White Girl was submitted to the Academy along with three etchings, all three of which were accepted, while the painting was not. Whistler exhibited it at the small Berners Street Gallery in London instead. Instead, it was accepted at the alternative Salon des Refusés – the "exhibition of rejects" that opened on May 15, two weeks after the official Salon.Although Whistler's painting was widely noticed, he was upstaged by Manet's more shocking painting Le déjeuner sur l'herbe. The painting was greatly admired by his colleagues and friends Manet, the painter Gustave Courbet and the poet Charles Baudelaire. The art critic Théophile Thoré-Bürger saw it in the tradition of Goya and Velázquez. There were, however, those who were less favourable; certain French critics saw the English Pre-Raphaelite trend as somewhat eccentric.

Prompt: Expliquer la Symphonie en blanc n°1 concernant la Contexte du Salon de 1863 de cette œuvre d'art, Salon des refusés.Veuillez sortir en anglais.


subsection

Salon des refusés

In 1861, after returning to Paris for a time, James Abbott McNeill Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. This portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug  with the wolf's head staring menacingly at the viewer.Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.Whistler started working on The White Girl shortly after December 3, 1861, with the intention of submitting it to the prestigious annual exhibition of the Royal Academy. In spite of bouts of illness, he finished the painting by April. The white paint Whistler used contained lead, and his work on the seven-foot-high canvas had given the artist a dose of lead poisoning. The portrait was refused for exhibition at the conservative Royal Academy in London.  Whistler then submitted the painting to the Paris Salon of 1863, where it was also rejected. The public was able to see the painting exhibited with other rejected works, in the Salon des Refusés.  The Salon des Refusés was an event sanctioned by Emperor Napoleon III, to appease the large number of artists who joined forces to protest the harsh jury decisions in 1863 a noted equestrienne of the period, however it was soon rumored that it was actually Catherine Walters, the notorious London courtesan. Whistler's painting was reminiscent enough of ndseer's that the judges were wary of admitting it. White Girl was submitted to the Academy along with three etchings, all three of which were accepted, while the painting was not. Whistler exhibited it at the small Berners Street Gallery in London instead. Instead, it was accepted at the alternative Salon des Refusés – the "exhibition of rejects" that opened on May 15, two weeks after the official Salon.Although Whistler's painting was widely noticed, he was upstaged by Manet's more shocking painting Le déjeuner sur l'herbe. The painting was greatly admired by his colleagues and friends Manet, the painter Gustave Courbet and the poet Charles Baudelaire. The art critic Théophile Thoré-Bürger saw it in the tradition of Goya and Velázquez. There were, however, those who were less favourable; certain French critics saw the English Pre-Raphaelite trend as somewhat eccentric.

Prompt: Dans Salon des refusés, comment la Symphonie en blanc n°1 de la Contexte du Salon de 1863 est-elle expliquée?Veuillez sortir en anglais.


subsection

Salon des refusés

In 1861, after returning to Paris for a time, James Abbott McNeill Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. This portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug  with the wolf's head staring menacingly at the viewer.Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.Whistler started working on The White Girl shortly after December 3, 1861, with the intention of submitting it to the prestigious annual exhibition of the Royal Academy. In spite of bouts of illness, he finished the painting by April. The white paint Whistler used contained lead, and his work on the seven-foot-high canvas had given the artist a dose of lead poisoning. The portrait was refused for exhibition at the conservative Royal Academy in London.  Whistler then submitted the painting to the Paris Salon of 1863, where it was also rejected. The public was able to see the painting exhibited with other rejected works, in the Salon des Refusés.  The Salon des Refusés was an event sanctioned by Emperor Napoleon III, to appease the large number of artists who joined forces to protest the harsh jury decisions in 1863 a noted equestrienne of the period, however it was soon rumored that it was actually Catherine Walters, the notorious London courtesan. Whistler's painting was reminiscent enough of ndseer's that the judges were wary of admitting it. White Girl was submitted to the Academy along with three etchings, all three of which were accepted, while the painting was not. Whistler exhibited it at the small Berners Street Gallery in London instead. Instead, it was accepted at the alternative Salon des Refusés – the "exhibition of rejects" that opened on May 15, two weeks after the official Salon.Although Whistler's painting was widely noticed, he was upstaged by Manet's more shocking painting Le déjeuner sur l'herbe. The painting was greatly admired by his colleagues and friends Manet, the painter Gustave Courbet and the poet Charles Baudelaire. The art critic Théophile Thoré-Bürger saw it in the tradition of Goya and Velázquez. There were, however, those who were less favourable; certain French critics saw the English Pre-Raphaelite trend as somewhat eccentric.

Prompt: Décrivez les caractéristiques de la Symphonie en blanc n°1 dans la Contexte du Salon de 1863 de Salon des refusés.Veuillez sortir en anglais.


section

La Liberté guidant le peuple

</ref>}}Liberty Leading the People  is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X. A bare-breasted woman of the people with a Phrygian cap personifying the concept and Goddess of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding aloft the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.

Prompt: Concentrez-vous sur La Liberté guidant le peuple et expliquez la Abstrait.Veuillez sortir en anglais.

Eugène Delacroix
France
France
French Revolution
July Revolution
Louvre
Marianne
Louvre
Paris
Phrygian cap


section

La Liberté guidant le peuple

</ref>}}Liberty Leading the People  is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X. A bare-breasted woman of the people with a Phrygian cap personifying the concept and Goddess of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding aloft the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.

Prompt: Expliquer la Abstrait de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.

Eugène Delacroix
France
France
French Revolution
July Revolution
Louvre
Marianne
Louvre
Paris
Phrygian cap


section

La Liberté guidant le peuple

</ref>}}Liberty Leading the People  is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X. A bare-breasted woman of the people with a Phrygian cap personifying the concept and Goddess of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding aloft the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.

Prompt: Comment La Liberté guidant le peuple explique-t-il sa Abstrait?Veuillez sortir en anglais.

Eugène Delacroix
France
France
French Revolution
July Revolution
Louvre
Marianne
Louvre
Paris
Phrygian cap


section

La Liberté guidant le peuple

</ref>}}Liberty Leading the People  is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X. A bare-breasted woman of the people with a Phrygian cap personifying the concept and Goddess of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding aloft the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.

Prompt: Dans La Liberté guidant le peuple, comment est discutée la Abstrait?Veuillez sortir en anglais.

Eugène Delacroix
France
France
French Revolution
July Revolution
Louvre
Marianne
Louvre
Paris
Phrygian cap


section

La Liberté guidant le peuple

By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831.

Prompt: Concentrez-vous sur La Liberté guidant le peuple et expliquez la Histoire.Veuillez sortir en anglais.


section

La Liberté guidant le peuple

By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831.

Prompt: Expliquer la Histoire de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.


section

La Liberté guidant le peuple

By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831.

Prompt: Comment La Liberté guidant le peuple explique-t-il sa Histoire?Veuillez sortir en anglais.


section

La Liberté guidant le peuple

By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831.

Prompt: Dans La Liberté guidant le peuple, comment est discutée la Histoire?Veuillez sortir en anglais.


section

La Liberté guidant le peuple

Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious  wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.

Prompt: Concentrez-vous sur La Liberté guidant le peuple et expliquez la Symbolisme.Veuillez sortir en anglais.

Age of Enlightenment
French Revolution
Frédéric Villot
Louvre
Louvre
Paris
Phrygian cap


section

La Liberté guidant le peuple

Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious  wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.

Prompt: Expliquer la Symbolisme de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.

Age of Enlightenment
French Revolution
Frédéric Villot
Louvre
Louvre
Paris
Phrygian cap