subsection

Chambres de Raphaël

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

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


subsection

Chambres de Raphaël

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

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


subsection

Chambres de Raphaël

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

Prompt: Décrivez les caractéristiques de la L'Expulsion d'Héliodore du Temple dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

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

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la La Messe à Bolsena et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

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

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


subsection

Chambres de Raphaël

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

Prompt: Dans Chambres de Raphaël, comment la La Messe à Bolsena de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.


subsection

Chambres de Raphaël

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

Prompt: Décrivez les caractéristiques de la La Messe à Bolsena dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

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

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la La Rencontre de Léon le Grand et Attila et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

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

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


subsection

Chambres de Raphaël

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

Prompt: Dans Chambres de Raphaël, comment la La Rencontre de Léon le Grand et Attila de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.


subsection

Chambres de Raphaël

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

Prompt: Décrivez les caractéristiques de la La Rencontre de Léon le Grand et Attila dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

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

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la Délivrance de Saint Pierre et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

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

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


subsection

Chambres de Raphaël

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

Prompt: Dans Chambres de Raphaël, comment la Délivrance de Saint Pierre de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.


subsection

Chambres de Raphaël

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

Prompt: Décrivez les caractéristiques de la Délivrance de Saint Pierre dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la Dispute du Saint-Sacrement et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.

Prompt: Expliquer la Dispute du Saint-Sacrement concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.

Prompt: Dans Chambres de Raphaël, comment la Dispute du Saint-Sacrement de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.


subsection

Chambres de Raphaël

The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.

Prompt: Décrivez les caractéristiques de la Dispute du Saint-Sacrement dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la LeParnasse et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.

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


subsection

Chambres de Raphaël

Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.

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


subsection

Chambres de Raphaël

Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.

Prompt: Décrivez les caractéristiques de la LeParnasse dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la L'École d'Athènes et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.

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


subsection

Chambres de Raphaël

Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.

Prompt: Dans Chambres de Raphaël, comment la L'École d'Athènes de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.


subsection

Chambres de Raphaël

Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.

Prompt: Décrivez les caractéristiques de la L'École d'Athènes dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la LesVertusCardinales et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.

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


subsection

Chambres de Raphaël

The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.

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


subsection

Chambres de Raphaël

The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.

Prompt: Décrivez les caractéristiques de la LesVertusCardinales dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la Le Serment de Léon III et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.

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


subsection

Chambres de Raphaël

centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.

Prompt: Dans Chambres de Raphaël, comment la Le Serment de Léon III de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.

Prompt: Décrivez les caractéristiques de la Le Serment de Léon III dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la Le Couronnement de Charlemagne et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.

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


subsection

Chambres de Raphaël

centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.

Prompt: Dans Chambres de Raphaël, comment la Le Couronnement de Charlemagne de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.

Prompt: Décrivez les caractéristiques de la Le Couronnement de Charlemagne dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la IncendieauBorgo et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

Chambres de Raphaël

centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.

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

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

Chambres de Raphaël

centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.

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

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

Chambres de Raphaël

centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.

Prompt: Décrivez les caractéristiques de la IncendieauBorgo dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

Chambres de Raphaël

centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.

Prompt: Dans le contexte de Chambres de Raphaël, expliquez la La Bataille d'Ostie et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.

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


subsection

Chambres de Raphaël

centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.

Prompt: Dans Chambres de Raphaël, comment la La Bataille d'Ostie de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.


subsection

Chambres de Raphaël

centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.

Prompt: Décrivez les caractéristiques de la La Bataille d'Ostie dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.


section

Madonna Benois

1478–1480 medium=Oil on canvas height_metric=49.5 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed  1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.

Prompt: Concentrez-vous sur Madonna Benois et expliquez la Abstrait.Veuillez sortir en anglais.

Alte Pinakothek
Hermitage Museum
Italian Renaissance
Leonardo da Vinci
Madonna of the Carnation
Munich
Saint Petersburg


section

Madonna Benois

1478–1480 medium=Oil on canvas height_metric=49.5 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed  1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.

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

Alte Pinakothek
Hermitage Museum
Italian Renaissance
Leonardo da Vinci
Madonna of the Carnation
Munich
Saint Petersburg


section

Madonna Benois

1478–1480 medium=Oil on canvas height_metric=49.5 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed  1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.

Prompt: Comment Madonna Benois explique-t-il sa Abstrait?Veuillez sortir en anglais.

Alte Pinakothek
Hermitage Museum
Italian Renaissance
Leonardo da Vinci
Madonna of the Carnation
Munich
Saint Petersburg


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Madonna Benois

1478–1480 medium=Oil on canvas height_metric=49.5 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed  1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.

Prompt: Dans Madonna Benois, comment est discutée la Abstrait?Veuillez sortir en anglais.

Alte Pinakothek
Hermitage Museum
Italian Renaissance
Leonardo da Vinci
Madonna of the Carnation
Munich
Saint Petersburg


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Madonna Benois

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur   in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov . Finally, when his daughter Maria Sapozhnikova  married the architect Leon Benois , the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.

Prompt: Concentrez-vous sur Madonna Benois et expliquez la Histoire.Veuillez sortir en anglais.

Andrea del Verrocchio
Astrakhan
Bernard Berenson
British Museum
Ernst Friedrich von Liphart
Hermitage Museum
Italy
Leon Benois
Madonna of the Pinks
National Gallery
October Revolution
Raphael
Saint Petersburg


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Madonna Benois

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur   in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov . Finally, when his daughter Maria Sapozhnikova  married the architect Leon Benois , the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.

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

Andrea del Verrocchio
Astrakhan
Bernard Berenson
British Museum
Ernst Friedrich von Liphart
Hermitage Museum
Italy
Leon Benois
Madonna of the Pinks
National Gallery
October Revolution
Raphael
Saint Petersburg


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Madonna Benois

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur   in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov . Finally, when his daughter Maria Sapozhnikova  married the architect Leon Benois , the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.

Prompt: Comment Madonna Benois explique-t-il sa Histoire?Veuillez sortir en anglais.

Andrea del Verrocchio
Astrakhan
Bernard Berenson
British Museum
Ernst Friedrich von Liphart
Hermitage Museum
Italy
Leon Benois
Madonna of the Pinks
National Gallery
October Revolution
Raphael
Saint Petersburg


section

Madonna Benois

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur   in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov . Finally, when his daughter Maria Sapozhnikova  married the architect Leon Benois , the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.

Prompt: Dans Madonna Benois, comment est discutée la Histoire?Veuillez sortir en anglais.

Andrea del Verrocchio
Astrakhan
Bernard Berenson
British Museum
Ernst Friedrich von Liphart
Hermitage Museum
Italy
Leon Benois
Madonna of the Pinks
National Gallery
October Revolution
Raphael
Saint Petersburg


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Madonna Benois

upright=1This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.

Prompt: Concentrez-vous sur Madonna Benois et expliquez la Description et interprétation.Veuillez sortir en anglais.


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Madonna Benois

upright=1This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.

Prompt: Expliquer la Description et interprétation de cette œuvre d'art, Madonna Benois.Veuillez sortir en anglais.


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Madonna Benois

upright=1This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.

Prompt: Comment Madonna Benois explique-t-il sa Description et interprétation?Veuillez sortir en anglais.


section

Madonna Benois

upright=1This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.

Prompt: Dans Madonna Benois, comment est discutée la Description et interprétation?Veuillez sortir en anglais.


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Madonna Benois

Marian art in the Catholic Church List of works by Leonardo da Vinci

Prompt: Concentrez-vous sur Madonna Benois et expliquez la Voir aussi.Veuillez sortir en anglais.

Leonardo da Vinci
List of works by Leonardo da Vinci
Marian art in the Catholic Church


section

Madonna Benois

Marian art in the Catholic Church List of works by Leonardo da Vinci

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

Leonardo da Vinci
List of works by Leonardo da Vinci
Marian art in the Catholic Church


section

Madonna Benois

Marian art in the Catholic Church List of works by Leonardo da Vinci

Prompt: Comment Madonna Benois explique-t-il sa Voir aussi?Veuillez sortir en anglais.

Leonardo da Vinci
List of works by Leonardo da Vinci
Marian art in the Catholic Church


section

Madonna Benois

Marian art in the Catholic Church List of works by Leonardo da Vinci

Prompt: Dans Madonna Benois, comment est discutée la Voir aussi?Veuillez sortir en anglais.

Leonardo da Vinci
List of works by Leonardo da Vinci
Marian art in the Catholic Church


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Le Serment des Horaces

Oath of the Horatii  is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy  which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.

Prompt: Concentrez-vous sur Le Serment des Horaces et expliquez la Abstrait.Veuillez sortir en anglais.

3
Alba Longa
Jacques-Louis David
Livy
Louvre
Livy


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Le Serment des Horaces

Oath of the Horatii  is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy  which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.

Prompt: Expliquer la Abstrait de cette œuvre d'art, Le Serment des Horaces.Veuillez sortir en anglais.

3
Alba Longa
Jacques-Louis David
Livy
Louvre
Livy


section

Le Serment des Horaces

Oath of the Horatii  is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy  which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.

Prompt: Comment Le Serment des Horaces explique-t-il sa Abstrait?Veuillez sortir en anglais.

3
Alba Longa
Jacques-Louis David
Livy
Louvre
Livy


section

Le Serment des Horaces

Oath of the Horatii  is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy  which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.

Prompt: Dans Le Serment des Horaces, comment est discutée la Abstrait?Veuillez sortir en anglais.

3
Alba Longa
Jacques-Louis David
Livy
Louvre
Livy


section

Le Serment des Horaces

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years  in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.

Prompt: Concentrez-vous sur Le Serment des Horaces et expliquez la Mise en service du travail.Veuillez sortir en anglais.


section

Le Serment des Horaces

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years  in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.

Prompt: Expliquer la Mise en service du travail de cette œuvre d'art, Le Serment des Horaces.Veuillez sortir en anglais.


section

Le Serment des Horaces

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years  in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.

Prompt: Comment Le Serment des Horaces explique-t-il sa Mise en service du travail?Veuillez sortir en anglais.


section

Le Serment des Horaces

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years  in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.

Prompt: Dans Le Serment des Horaces, comment est discutée la Mise en service du travail?Veuillez sortir en anglais.


section

Le Serment des Horaces

The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita  had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon  their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire: - Le Claire, Thomas - Kunsthandel XVII</ref>}}

Prompt: Concentrez-vous sur Le Serment des Horaces et expliquez la Thème symbolique.Veuillez sortir en anglais.


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Le Serment des Horaces

The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita  had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon  their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire: - Le Claire, Thomas - Kunsthandel XVII</ref>}}

Prompt: Expliquer la Thème symbolique de cette œuvre d'art, Le Serment des Horaces.Veuillez sortir en anglais.


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Le Serment des Horaces

The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita  had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon  their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire: - Le Claire, Thomas - Kunsthandel XVII</ref>}}

Prompt: Comment Le Serment des Horaces explique-t-il sa Thème symbolique?Veuillez sortir en anglais.


section

Le Serment des Horaces

The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita  had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon  their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire: - Le Claire, Thomas - Kunsthandel XVII</ref>}}

Prompt: Dans Le Serment des Horaces, comment est discutée la Thème symbolique?Veuillez sortir en anglais.


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Le Serment des Horaces

This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures. The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it . The use of dull colors is to show the importance of the story behind the painting over the painting itself.The picture is organized, depicting the symbolism of the number three and of the moment itself.The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subjectThe men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.

Prompt: Concentrez-vous sur Le Serment des Horaces et expliquez la Technique de composition.Veuillez sortir en anglais.


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Le Serment des Horaces

This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures. The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it . The use of dull colors is to show the importance of the story behind the painting over the painting itself.The picture is organized, depicting the symbolism of the number three and of the moment itself.The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subjectThe men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.

Prompt: Expliquer la Technique de composition de cette œuvre d'art, Le Serment des Horaces.Veuillez sortir en anglais.


section

Le Serment des Horaces

This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures. The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it . The use of dull colors is to show the importance of the story behind the painting over the painting itself.The picture is organized, depicting the symbolism of the number three and of the moment itself.The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subjectThe men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.

Prompt: Comment Le Serment des Horaces explique-t-il sa Technique de composition?Veuillez sortir en anglais.


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Le Serment des Horaces

This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures. The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it . The use of dull colors is to show the importance of the story behind the painting over the painting itself.The picture is organized, depicting the symbolism of the number three and of the moment itself.The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subjectThe men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.

Prompt: Dans Le Serment des Horaces, comment est discutée la Technique de composition?Veuillez sortir en anglais.


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Le Serment des Horaces

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

Prompt: Concentrez-vous sur Le Serment des Horaces et expliquez la Réception.Veuillez sortir en anglais.


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Le Serment des Horaces

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

Prompt: Expliquer la Réception de cette œuvre d'art, Le Serment des Horaces.Veuillez sortir en anglais.


section

Le Serment des Horaces

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

Prompt: Comment Le Serment des Horaces explique-t-il sa Réception?Veuillez sortir en anglais.


section

Le Serment des Horaces

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

Prompt: Dans Le Serment des Horaces, comment est discutée la Réception?Veuillez sortir en anglais.


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Le Serment des Horaces

List of paintings by Jacques-Louis David

Prompt: Concentrez-vous sur Le Serment des Horaces et expliquez la Voir aussi.Veuillez sortir en anglais.


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Le Serment des Horaces

List of paintings by Jacques-Louis David

Prompt: Expliquer la Voir aussi de cette œuvre d'art, Le Serment des Horaces.Veuillez sortir en anglais.


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Le Serment des Horaces

List of paintings by Jacques-Louis David

Prompt: Comment Le Serment des Horaces explique-t-il sa Voir aussi?Veuillez sortir en anglais.


section

Le Serment des Horaces

List of paintings by Jacques-Louis David

Prompt: Dans Le Serment des Horaces, comment est discutée la Voir aussi?Veuillez sortir en anglais.


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L'Extase de sainte Thérèse

type               = Sculpture material           = Marble dimensions         = Life-size city               = Rome museum             = Santa Maria della Vittoria coordinates        = mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=12mapframe-marker=monumentmapframe-wikidata=yes preceded_by        = Raimondi Chapel followed_by        = Truth Unveiled by Time }}The Ecstasy of Saint Teresa  is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun , swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.

Prompt: Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Abstrait.Veuillez sortir en anglais.

Baroque
Cornaro family
Gian Lorenzo Bernini
Rome
Teresa of Ávila
Teresa of Ávila


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L'Extase de sainte Thérèse

type               = Sculpture material           = Marble dimensions         = Life-size city               = Rome museum             = Santa Maria della Vittoria coordinates        = mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=12mapframe-marker=monumentmapframe-wikidata=yes preceded_by        = Raimondi Chapel followed_by        = Truth Unveiled by Time }}The Ecstasy of Saint Teresa  is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun , swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.

Prompt: Expliquer la Abstrait de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.

Baroque
Cornaro family
Gian Lorenzo Bernini
Rome
Teresa of Ávila
Teresa of Ávila


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L'Extase de sainte Thérèse

type               = Sculpture material           = Marble dimensions         = Life-size city               = Rome museum             = Santa Maria della Vittoria coordinates        = mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=12mapframe-marker=monumentmapframe-wikidata=yes preceded_by        = Raimondi Chapel followed_by        = Truth Unveiled by Time }}The Ecstasy of Saint Teresa  is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun , swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.

Prompt: Comment L'Extase de sainte Thérèse explique-t-il sa Abstrait?Veuillez sortir en anglais.

Baroque
Cornaro family
Gian Lorenzo Bernini
Rome
Teresa of Ávila
Teresa of Ávila


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L'Extase de sainte Thérèse

type               = Sculpture material           = Marble dimensions         = Life-size city               = Rome museum             = Santa Maria della Vittoria coordinates        = mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=12mapframe-marker=monumentmapframe-wikidata=yes preceded_by        = Raimondi Chapel followed_by        = Truth Unveiled by Time }}The Ecstasy of Saint Teresa  is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun , swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.

Prompt: Dans L'Extase de sainte Thérèse, comment est discutée la Abstrait?Veuillez sortir en anglais.

Baroque
Cornaro family
Gian Lorenzo Bernini
Rome
Teresa of Ávila
Teresa of Ávila


section

L'Extase de sainte Thérèse

The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro .Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.</ref>}}A small format terracotta model of about  was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.

Prompt: Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Commission.Veuillez sortir en anglais.

Carmelites
Discalced Carmelites
Hermitage Museum


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L'Extase de sainte Thérèse

The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro .Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.</ref>}}A small format terracotta model of about  was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.

Prompt: Expliquer la Commission de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.

Carmelites
Discalced Carmelites
Hermitage Museum


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L'Extase de sainte Thérèse

The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro .Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.</ref>}}A small format terracotta model of about  was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.

Prompt: Comment L'Extase de sainte Thérèse explique-t-il sa Commission?Veuillez sortir en anglais.

Carmelites
Discalced Carmelites
Hermitage Museum


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L'Extase de sainte Thérèse

The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro .Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.</ref>}}A small format terracotta model of about  was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.

Prompt: Dans L'Extase de sainte Thérèse, comment est discutée la Commission?Veuillez sortir en anglais.

Carmelites
Discalced Carmelites
Hermitage Museum


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L'Extase de sainte Thérèse

The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving vin said "the transverberation becomes a point of contact between earth and heaven, between matter and spirit". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies  and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: "Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance."

Prompt: Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Interprétations.Veuillez sortir en anglais.


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L'Extase de sainte Thérèse

The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving vin said "the transverberation becomes a point of contact between earth and heaven, between matter and spirit". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies  and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: "Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance."

Prompt: Expliquer la Interprétations de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.


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L'Extase de sainte Thérèse

The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving vin said "the transverberation becomes a point of contact between earth and heaven, between matter and spirit". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies  and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: "Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance."

Prompt: Comment L'Extase de sainte Thérèse explique-t-il sa Interprétations?Veuillez sortir en anglais.


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L'Extase de sainte Thérèse

The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving vin said "the transverberation becomes a point of contact between earth and heaven, between matter and spirit". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies  and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: "Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance."

Prompt: Dans L'Extase de sainte Thérèse, comment est discutée la Interprétations?Veuillez sortir en anglais.


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L'Extase de sainte Thérèse

The sexual implications of the work have not gone unnoticed. It is considered "decidely risqué"; "the most astounding peep show in art"; and "the grossest and most offensive example of Baroque art." The reason for its popularity "has a lot to do with sex." And by placing the sculpture in a theatrical setting, Bernini is accused of turning "a private moment into a very publicspectacle."Scholars who defend it against such criticism take one of three approaches, saying:# Bernini faithfully followed Teresa’s description of the experience.# The Church accepted that mystical union often involved erotic elements.# There is no nudity in the statue.But Franco Mormando says "none of these defenses are completely accurate."

Prompt: Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Critique.Veuillez sortir en anglais.