Portrait of Adele Bloch-Bauer I

Prompt: Describe the characteristics of the 1912–1945 in Portrait of Adele Bloch-Bauer I's History and ownership.

After exhibition at the Kunstschau, the portrait was hung at the Bloch-Bauer's Vienna residence. In 1912 Ferdinand commissioned a second painting of his wife, in which "the erotic charge of the likeness of 1907 has been spent", according to Whitford. In February 1918, Klimt suffered a stroke and was hospitalised; he caught pneumonia due to the worldwide influenza epidemic and died that month.On 19 January 1923 Adele Bloch-Bauer wrote a will. Ferdinand's brother Gustav, a lawyer by training, helped her frame the document and was named as the executor. The will included a reference to the Klimt works owned by the couple, including the two portraits of her:Meine 2 Porträts und die 4 Landschaften von Gustav Klimt, bitte ich meinen Ehegatten nach seinem Tode der österr. Staats-Gallerie in Wien, die mir gehörende Wiener und Jungfer.(Translates from the German as: "I ask my husband after his death to leave my two portraits and the four landscapes by Gustav Klimt to the Austrian State Gallery in Vienna.")In February 1925 Adele died of meningitis. Shortly afterwards Gustav filed for probate; he included a document that stated that the clause in the will was precatory, i.e. a request rather than a binding testament. He added that Ferdinand had said he would honour the clause, even though he, not Adele, was the legal owner of the paintings. The works by Klimt which Ferdinand owned, including the two portraits, were moved to Adele's bedroom as a shrine to her. The painting was lent for an exhibition at the Vienna Secession in 1928 to mark the tenth anniversary of Klimt's death; in 1934 it was displayed in London as part of the Austria in London exhibition. In 1936 Ferdinand gave Schloss Kammer am Attersee III to the Österreichische Galerie Belvedere; he later acquired a further Klimt painting, the Portrait of Amalie Zuckerkandl (1917–1918). In 1937 the golden portrait of Adele was lent for display at the Paris Exposition.In December 1937 Gustav's daughter–and Ferdinand's niece–Maria, married the young opera singer Fritz Altman. Ferdinand gave her Adele's jewelled choker, depicted in the painting, as a wedding present. Ferdinand left Vienna for his Czechoslovakian castle in March 1938, following the Anschluss (annexation) of Austria by Nazi Germany. That autumn, following the Munich Agreement allowing the Nazi annexations in Czechoslovakia, he realised he was not safe and left for Paris. In September the following year, he moved to neutral Switzerland where he lived in a hotel. In his absence the Nazi regime falsely accused him of evading taxes of 1.4 million Reichsmarks. His assets were frozen and, in May 1938, a seizure order was issued that allowed the state to dispose of his property as they felt fit. His sugar factory was confiscated and turned over to the state, and went through a process of Aryanisation as Jewish shareholders and managers were replaced. His Viennese residence became an office of Deutsche Reichsbahn, the German railway company, while his castle in Czechoslovakia was taken after the German occupation as the personal residence of the SS-Obergruppenführer Reinhard Heydrich.As part of the process to deal with the purported tax evasion, the Nazi lawyer Friedrich Führer was appointed as the administrator of the estate. In January 1939 he convened a meeting of museum and gallery directors to inspect the works and to give an indication of which they would like to obtain. After the collection was catalogued, Adolf Hitler used the Führervorbehalt decree to obtain part of the collection at a reduced price. Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the Luftwaffe, also obtained works from the collection. Göring also used the Führervorbehalt decree to obtain the jewelled choker that had been given to Maria Altmann; it was given as a gift to Emmy, his wife.In December 1941 Führer transferred the paintings Portrait of Adele Bloch-Bauer I and Apfelbaum I to the Galerie Belvedere in return for Schloss Kammer am Attersee III, which he then sold to Gustav Ucicky, an illegitimate son of Klimt. A note accompanying the paintings stated he was acting in accordance with Adele's will. To remove all reference to its Jewish subject matter, the gallery renamed the portrait with the German title Dame in Gold (translates as Lady in Gold).

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: In the context of Portrait of Adele Bloch-Bauer I, explain the Since 1945 and the History and ownership.

In August 1945 Ferdinand wrote a final will that revoked all previous ones. It made no reference to the pictures, which he thought had been lost forever, but it stated that his entire estate was left to his nephew and two nieces—one of whom was Maria Altmann. Ferdinand died in Switzerland in November that year.In 1946 the Austrian state issued an Annulment Act that declared all transactions motivated by Nazi discrimination were void; any Jews who wanted to remove artwork from Austria were forced to give some of their works to Austrian museums in order to obtain an export permit for others. The Bloch-Bauer family hired Dr Gustav Rinesh, a Viennese lawyer, to reclaim stolen artwork on their behalf. Using the records produced by Führer, he traced most of the works to the Galerie Belvedere, and Häuser in Unterach, to Führer's own private collection. Several works were returned to the Bloch-Bauer estate, but no Klimt paintings; to obtain the necessary export permits, the family were forced to let the Austrian state retain Häuser in Unterach am Attersee, Adele Bloch-Bauer I, Adele Bloch-Bauer II, and Apfelbaum I. They were also forced to relinquish any claims on Buchenwald and Schloss Kammer am Attersee III. The Galerie Belvedere based its claim of retention of the Klimt works on Adele's will.In 1998 the Austrian government introduced the Art Restitution Act, which looked again at the question of art stolen by the Nazis. The government formed a restitution committee to report on which works should be returned; government archives were opened up to research into the provenance of works held by the government. Hubertus Czernin, the Austrian investigative journalist, undertook extensive research in the newly opened archives and published a story about the theft of art by the Nazis; with the subsequent refusal of the Austrian state to return the art or to acknowledge a theft had taken place, Czernin described the situation as "a double crime".Altmann, then living in the US, hired E. Randol Schoenberg to act on her behalf. Schoenberg was the son of a woman she had been friends with since they lived in Vienna. They filed a claim with the restitution committee for the return of six paintings: Adele Bloch-Bauer I, Adele Bloch-Bauer II, Apfelbaum I, Buchenwald, Häuser in Unterach am Attersee and Amalie Zuckerkandl. The committee turned down the request, again citing Adele's will as the reason they were retaining the works. The committee's decision recommended that 16 Klimt drawings and 19 pieces of porcelain that had been held by Ferdinand and Adele and which were still at the Galerie Belvedere should be returned, as they fell outside the request of the will.In March 2000 Altmann filed a civil claim against the Austrian government for the return of the paintings. She was informed that the cost of filing (consisting of 1.2% of the amount in question, plus a filing fee), would have meant a fee of €1.75 million. To avoid the prohibitively high costs, Altmann and Schoenberg sued the Galerie Belvedere, and the museums owner, the Austrian government, in the US courts. The Austrian government filed for dismissal, with arguments based on the Foreign Sovereign Immunities Act (1976). The Act granted immunity to sovereign nations except under certain conditions. Schoenberg showed that three of the conditions pertinent to the case were that Altmann's property had been taken in violation of international law; the property was in the possession of the state in question, or one of its agencies; and that the property had been used on a commercial basis in the US. Over four years of litigation followed as to whether the case could be brought against a sovereign state before it was brought before the Supreme Court in Republic of Austria v. Altmann. In June 2004 the Supreme Court determined that the paintings had been stolen and that Austria was not immune from a claim from Altmann; the court made no comment on the current ownership of the paintings.To avoid returning to the courts in what could have been lengthy litigation process, arbitration in Austria was agreed upon by both parties, although the Austrians had turned down such a move in 1999. Three arbitrators formed the panel, Andreas Nödl, Walter Rechberger and Peter Rummel. Schoenberg gave evidence before them in September 2005 and, in January 2006, they delivered their judgement. They stated that five of the six paintings in question should be returned to the Bloch-Bauer estate, as outlined in Ferdinand's will; only the Portrait of Amalie Zuckerkandl was to be retained by the gallery.After the panel's decision was announced, the Galerie Belvedere ran a series of advertisements that appeared in bus stops and on underground railway platforms. The posters said "Ciao Adele", advertising the last opportunity before the painting left the country and long queues formed around the block. Although there were calls from some Austrians for the state to purchase the five paintings, the government stated that the price would be too high to justify the expense. The paintings were exported from Austria in March 2006 and exhibited together at the Los Angeles County Museum of Art from April to June that year.When Altmann was asked what she wanted to do with the paintings, she stated "I would not want any private person to buy these paintings, ... It is very meaningful to me that they are seen by anybody who wants to see them, because that would have been the wish of my aunt." In June 2006 the Portrait of Adele Bloch-Bauer I was sold to Ronald Lauder for $135 million for his public art museum, at the time a record price for a painting. Eileen Kinsella, the editor of ARTnews, considered the high price was due to several factors, particularly the painting's provenance, the increasing demand for Austrian Expressionism, rising prices in the art world and "Lauder's passion for and pursuit of this particular work". Lauder placed the work in the Neue Galerie, the New York–based gallery he co-founded. The painting has been on display at the location since.Michael Kimmelman, the chief art critic for the New York Times, was critical of the sale, and wrote that "A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market." Altmann said of the sale that it was not practical for her, or her relatives who were also part of the estate, to retain any of the paintings. In November 2006 the remaining four Klimt paintings were sold at Christie's auction house. Adele Bloch-Bauer II sold for $87.9 million, Apfelbaum I for $33 million, Buchenwald for $40.3 million and Häuser in Unterach am Attersee for $31 million. All went to private collections.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Explain the Since 1945 about the History and ownership of this artwork, Portrait of Adele Bloch-Bauer I.

In August 1945 Ferdinand wrote a final will that revoked all previous ones. It made no reference to the pictures, which he thought had been lost forever, but it stated that his entire estate was left to his nephew and two nieces—one of whom was Maria Altmann. Ferdinand died in Switzerland in November that year.In 1946 the Austrian state issued an Annulment Act that declared all transactions motivated by Nazi discrimination were void; any Jews who wanted to remove artwork from Austria were forced to give some of their works to Austrian museums in order to obtain an export permit for others. The Bloch-Bauer family hired Dr Gustav Rinesh, a Viennese lawyer, to reclaim stolen artwork on their behalf. Using the records produced by Führer, he traced most of the works to the Galerie Belvedere, and Häuser in Unterach, to Führer's own private collection. Several works were returned to the Bloch-Bauer estate, but no Klimt paintings; to obtain the necessary export permits, the family were forced to let the Austrian state retain Häuser in Unterach am Attersee, Adele Bloch-Bauer I, Adele Bloch-Bauer II, and Apfelbaum I. They were also forced to relinquish any claims on Buchenwald and Schloss Kammer am Attersee III. The Galerie Belvedere based its claim of retention of the Klimt works on Adele's will.In 1998 the Austrian government introduced the Art Restitution Act, which looked again at the question of art stolen by the Nazis. The government formed a restitution committee to report on which works should be returned; government archives were opened up to research into the provenance of works held by the government. Hubertus Czernin, the Austrian investigative journalist, undertook extensive research in the newly opened archives and published a story about the theft of art by the Nazis; with the subsequent refusal of the Austrian state to return the art or to acknowledge a theft had taken place, Czernin described the situation as "a double crime".Altmann, then living in the US, hired E. Randol Schoenberg to act on her behalf. Schoenberg was the son of a woman she had been friends with since they lived in Vienna. They filed a claim with the restitution committee for the return of six paintings: Adele Bloch-Bauer I, Adele Bloch-Bauer II, Apfelbaum I, Buchenwald, Häuser in Unterach am Attersee and Amalie Zuckerkandl. The committee turned down the request, again citing Adele's will as the reason they were retaining the works. The committee's decision recommended that 16 Klimt drawings and 19 pieces of porcelain that had been held by Ferdinand and Adele and which were still at the Galerie Belvedere should be returned, as they fell outside the request of the will.In March 2000 Altmann filed a civil claim against the Austrian government for the return of the paintings. She was informed that the cost of filing (consisting of 1.2% of the amount in question, plus a filing fee), would have meant a fee of €1.75 million. To avoid the prohibitively high costs, Altmann and Schoenberg sued the Galerie Belvedere, and the museums owner, the Austrian government, in the US courts. The Austrian government filed for dismissal, with arguments based on the Foreign Sovereign Immunities Act (1976). The Act granted immunity to sovereign nations except under certain conditions. Schoenberg showed that three of the conditions pertinent to the case were that Altmann's property had been taken in violation of international law; the property was in the possession of the state in question, or one of its agencies; and that the property had been used on a commercial basis in the US. Over four years of litigation followed as to whether the case could be brought against a sovereign state before it was brought before the Supreme Court in Republic of Austria v. Altmann. In June 2004 the Supreme Court determined that the paintings had been stolen and that Austria was not immune from a claim from Altmann; the court made no comment on the current ownership of the paintings.To avoid returning to the courts in what could have been lengthy litigation process, arbitration in Austria was agreed upon by both parties, although the Austrians had turned down such a move in 1999. Three arbitrators formed the panel, Andreas Nödl, Walter Rechberger and Peter Rummel. Schoenberg gave evidence before them in September 2005 and, in January 2006, they delivered their judgement. They stated that five of the six paintings in question should be returned to the Bloch-Bauer estate, as outlined in Ferdinand's will; only the Portrait of Amalie Zuckerkandl was to be retained by the gallery.After the panel's decision was announced, the Galerie Belvedere ran a series of advertisements that appeared in bus stops and on underground railway platforms. The posters said "Ciao Adele", advertising the last opportunity before the painting left the country and long queues formed around the block. Although there were calls from some Austrians for the state to purchase the five paintings, the government stated that the price would be too high to justify the expense. The paintings were exported from Austria in March 2006 and exhibited together at the Los Angeles County Museum of Art from April to June that year.When Altmann was asked what she wanted to do with the paintings, she stated "I would not want any private person to buy these paintings, ... It is very meaningful to me that they are seen by anybody who wants to see them, because that would have been the wish of my aunt." In June 2006 the Portrait of Adele Bloch-Bauer I was sold to Ronald Lauder for $135 million for his public art museum, at the time a record price for a painting. Eileen Kinsella, the editor of ARTnews, considered the high price was due to several factors, particularly the painting's provenance, the increasing demand for Austrian Expressionism, rising prices in the art world and "Lauder's passion for and pursuit of this particular work". Lauder placed the work in the Neue Galerie, the New York–based gallery he co-founded. The painting has been on display at the location since.Michael Kimmelman, the chief art critic for the New York Times, was critical of the sale, and wrote that "A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market." Altmann said of the sale that it was not practical for her, or her relatives who were also part of the estate, to retain any of the paintings. In November 2006 the remaining four Klimt paintings were sold at Christie's auction house. Adele Bloch-Bauer II sold for $87.9 million, Apfelbaum I for $33 million, Buchenwald for $40.3 million and Häuser in Unterach am Attersee for $31 million. All went to private collections.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: In Portrait of Adele Bloch-Bauer I, how is the Since 1945 of the History and ownership explained?

In August 1945 Ferdinand wrote a final will that revoked all previous ones. It made no reference to the pictures, which he thought had been lost forever, but it stated that his entire estate was left to his nephew and two nieces—one of whom was Maria Altmann. Ferdinand died in Switzerland in November that year.In 1946 the Austrian state issued an Annulment Act that declared all transactions motivated by Nazi discrimination were void; any Jews who wanted to remove artwork from Austria were forced to give some of their works to Austrian museums in order to obtain an export permit for others. The Bloch-Bauer family hired Dr Gustav Rinesh, a Viennese lawyer, to reclaim stolen artwork on their behalf. Using the records produced by Führer, he traced most of the works to the Galerie Belvedere, and Häuser in Unterach, to Führer's own private collection. Several works were returned to the Bloch-Bauer estate, but no Klimt paintings; to obtain the necessary export permits, the family were forced to let the Austrian state retain Häuser in Unterach am Attersee, Adele Bloch-Bauer I, Adele Bloch-Bauer II, and Apfelbaum I. They were also forced to relinquish any claims on Buchenwald and Schloss Kammer am Attersee III. The Galerie Belvedere based its claim of retention of the Klimt works on Adele's will.In 1998 the Austrian government introduced the Art Restitution Act, which looked again at the question of art stolen by the Nazis. The government formed a restitution committee to report on which works should be returned; government archives were opened up to research into the provenance of works held by the government. Hubertus Czernin, the Austrian investigative journalist, undertook extensive research in the newly opened archives and published a story about the theft of art by the Nazis; with the subsequent refusal of the Austrian state to return the art or to acknowledge a theft had taken place, Czernin described the situation as "a double crime".Altmann, then living in the US, hired E. Randol Schoenberg to act on her behalf. Schoenberg was the son of a woman she had been friends with since they lived in Vienna. They filed a claim with the restitution committee for the return of six paintings: Adele Bloch-Bauer I, Adele Bloch-Bauer II, Apfelbaum I, Buchenwald, Häuser in Unterach am Attersee and Amalie Zuckerkandl. The committee turned down the request, again citing Adele's will as the reason they were retaining the works. The committee's decision recommended that 16 Klimt drawings and 19 pieces of porcelain that had been held by Ferdinand and Adele and which were still at the Galerie Belvedere should be returned, as they fell outside the request of the will.In March 2000 Altmann filed a civil claim against the Austrian government for the return of the paintings. She was informed that the cost of filing (consisting of 1.2% of the amount in question, plus a filing fee), would have meant a fee of €1.75 million. To avoid the prohibitively high costs, Altmann and Schoenberg sued the Galerie Belvedere, and the museums owner, the Austrian government, in the US courts. The Austrian government filed for dismissal, with arguments based on the Foreign Sovereign Immunities Act (1976). The Act granted immunity to sovereign nations except under certain conditions. Schoenberg showed that three of the conditions pertinent to the case were that Altmann's property had been taken in violation of international law; the property was in the possession of the state in question, or one of its agencies; and that the property had been used on a commercial basis in the US. Over four years of litigation followed as to whether the case could be brought against a sovereign state before it was brought before the Supreme Court in Republic of Austria v. Altmann. In June 2004 the Supreme Court determined that the paintings had been stolen and that Austria was not immune from a claim from Altmann; the court made no comment on the current ownership of the paintings.To avoid returning to the courts in what could have been lengthy litigation process, arbitration in Austria was agreed upon by both parties, although the Austrians had turned down such a move in 1999. Three arbitrators formed the panel, Andreas Nödl, Walter Rechberger and Peter Rummel. Schoenberg gave evidence before them in September 2005 and, in January 2006, they delivered their judgement. They stated that five of the six paintings in question should be returned to the Bloch-Bauer estate, as outlined in Ferdinand's will; only the Portrait of Amalie Zuckerkandl was to be retained by the gallery.After the panel's decision was announced, the Galerie Belvedere ran a series of advertisements that appeared in bus stops and on underground railway platforms. The posters said "Ciao Adele", advertising the last opportunity before the painting left the country and long queues formed around the block. Although there were calls from some Austrians for the state to purchase the five paintings, the government stated that the price would be too high to justify the expense. The paintings were exported from Austria in March 2006 and exhibited together at the Los Angeles County Museum of Art from April to June that year.When Altmann was asked what she wanted to do with the paintings, she stated "I would not want any private person to buy these paintings, ... It is very meaningful to me that they are seen by anybody who wants to see them, because that would have been the wish of my aunt." In June 2006 the Portrait of Adele Bloch-Bauer I was sold to Ronald Lauder for $135 million for his public art museum, at the time a record price for a painting. Eileen Kinsella, the editor of ARTnews, considered the high price was due to several factors, particularly the painting's provenance, the increasing demand for Austrian Expressionism, rising prices in the art world and "Lauder's passion for and pursuit of this particular work". Lauder placed the work in the Neue Galerie, the New York–based gallery he co-founded. The painting has been on display at the location since.Michael Kimmelman, the chief art critic for the New York Times, was critical of the sale, and wrote that "A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market." Altmann said of the sale that it was not practical for her, or her relatives who were also part of the estate, to retain any of the paintings. In November 2006 the remaining four Klimt paintings were sold at Christie's auction house. Adele Bloch-Bauer II sold for $87.9 million, Apfelbaum I for $33 million, Buchenwald for $40.3 million and Häuser in Unterach am Attersee for $31 million. All went to private collections.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Describe the characteristics of the Since 1945 in Portrait of Adele Bloch-Bauer I's History and ownership.

In August 1945 Ferdinand wrote a final will that revoked all previous ones. It made no reference to the pictures, which he thought had been lost forever, but it stated that his entire estate was left to his nephew and two nieces—one of whom was Maria Altmann. Ferdinand died in Switzerland in November that year.In 1946 the Austrian state issued an Annulment Act that declared all transactions motivated by Nazi discrimination were void; any Jews who wanted to remove artwork from Austria were forced to give some of their works to Austrian museums in order to obtain an export permit for others. The Bloch-Bauer family hired Dr Gustav Rinesh, a Viennese lawyer, to reclaim stolen artwork on their behalf. Using the records produced by Führer, he traced most of the works to the Galerie Belvedere, and Häuser in Unterach, to Führer's own private collection. Several works were returned to the Bloch-Bauer estate, but no Klimt paintings; to obtain the necessary export permits, the family were forced to let the Austrian state retain Häuser in Unterach am Attersee, Adele Bloch-Bauer I, Adele Bloch-Bauer II, and Apfelbaum I. They were also forced to relinquish any claims on Buchenwald and Schloss Kammer am Attersee III. The Galerie Belvedere based its claim of retention of the Klimt works on Adele's will.In 1998 the Austrian government introduced the Art Restitution Act, which looked again at the question of art stolen by the Nazis. The government formed a restitution committee to report on which works should be returned; government archives were opened up to research into the provenance of works held by the government. Hubertus Czernin, the Austrian investigative journalist, undertook extensive research in the newly opened archives and published a story about the theft of art by the Nazis; with the subsequent refusal of the Austrian state to return the art or to acknowledge a theft had taken place, Czernin described the situation as "a double crime".Altmann, then living in the US, hired E. Randol Schoenberg to act on her behalf. Schoenberg was the son of a woman she had been friends with since they lived in Vienna. They filed a claim with the restitution committee for the return of six paintings: Adele Bloch-Bauer I, Adele Bloch-Bauer II, Apfelbaum I, Buchenwald, Häuser in Unterach am Attersee and Amalie Zuckerkandl. The committee turned down the request, again citing Adele's will as the reason they were retaining the works. The committee's decision recommended that 16 Klimt drawings and 19 pieces of porcelain that had been held by Ferdinand and Adele and which were still at the Galerie Belvedere should be returned, as they fell outside the request of the will.In March 2000 Altmann filed a civil claim against the Austrian government for the return of the paintings. She was informed that the cost of filing (consisting of 1.2% of the amount in question, plus a filing fee), would have meant a fee of €1.75 million. To avoid the prohibitively high costs, Altmann and Schoenberg sued the Galerie Belvedere, and the museums owner, the Austrian government, in the US courts. The Austrian government filed for dismissal, with arguments based on the Foreign Sovereign Immunities Act (1976). The Act granted immunity to sovereign nations except under certain conditions. Schoenberg showed that three of the conditions pertinent to the case were that Altmann's property had been taken in violation of international law; the property was in the possession of the state in question, or one of its agencies; and that the property had been used on a commercial basis in the US. Over four years of litigation followed as to whether the case could be brought against a sovereign state before it was brought before the Supreme Court in Republic of Austria v. Altmann. In June 2004 the Supreme Court determined that the paintings had been stolen and that Austria was not immune from a claim from Altmann; the court made no comment on the current ownership of the paintings.To avoid returning to the courts in what could have been lengthy litigation process, arbitration in Austria was agreed upon by both parties, although the Austrians had turned down such a move in 1999. Three arbitrators formed the panel, Andreas Nödl, Walter Rechberger and Peter Rummel. Schoenberg gave evidence before them in September 2005 and, in January 2006, they delivered their judgement. They stated that five of the six paintings in question should be returned to the Bloch-Bauer estate, as outlined in Ferdinand's will; only the Portrait of Amalie Zuckerkandl was to be retained by the gallery.After the panel's decision was announced, the Galerie Belvedere ran a series of advertisements that appeared in bus stops and on underground railway platforms. The posters said "Ciao Adele", advertising the last opportunity before the painting left the country and long queues formed around the block. Although there were calls from some Austrians for the state to purchase the five paintings, the government stated that the price would be too high to justify the expense. The paintings were exported from Austria in March 2006 and exhibited together at the Los Angeles County Museum of Art from April to June that year.When Altmann was asked what she wanted to do with the paintings, she stated "I would not want any private person to buy these paintings, ... It is very meaningful to me that they are seen by anybody who wants to see them, because that would have been the wish of my aunt." In June 2006 the Portrait of Adele Bloch-Bauer I was sold to Ronald Lauder for $135 million for his public art museum, at the time a record price for a painting. Eileen Kinsella, the editor of ARTnews, considered the high price was due to several factors, particularly the painting's provenance, the increasing demand for Austrian Expressionism, rising prices in the art world and "Lauder's passion for and pursuit of this particular work". Lauder placed the work in the Neue Galerie, the New York–based gallery he co-founded. The painting has been on display at the location since.Michael Kimmelman, the chief art critic for the New York Times, was critical of the sale, and wrote that "A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market." Altmann said of the sale that it was not practical for her, or her relatives who were also part of the estate, to retain any of the paintings. In November 2006 the remaining four Klimt paintings were sold at Christie's auction house. Adele Bloch-Bauer II sold for $87.9 million, Apfelbaum I for $33 million, Buchenwald for $40.3 million and Häuser in Unterach am Attersee for $31 million. All went to private collections.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Focus on Portrait of Adele Bloch-Bauer I and explain the Legacy.

The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt (2007), The Rape of Europa (2007) and Adele's Wish (2008).The painting's history is described in the 2012 book The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor.The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010.The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his unusual bond with Adele's niece Maria Altmann, published in August 2012.In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg. The painting of Adele - Maria's aunt - was the centerpiece for the story.The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by Laurie Lico Albanese.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7 million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had "tried to do good things with the money". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First Lady Michelle Obama, by Amy Sherald in 2018.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: Explain the Legacy of this artwork, Portrait of Adele Bloch-Bauer I.

The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt (2007), The Rape of Europa (2007) and Adele's Wish (2008).The painting's history is described in the 2012 book The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor.The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010.The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his unusual bond with Adele's niece Maria Altmann, published in August 2012.In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg. The painting of Adele - Maria's aunt - was the centerpiece for the story.The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by Laurie Lico Albanese.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7 million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had "tried to do good things with the money". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First Lady Michelle Obama, by Amy Sherald in 2018.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: How does Portrait of Adele Bloch-Bauer I explain its Legacy?

The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt (2007), The Rape of Europa (2007) and Adele's Wish (2008).The painting's history is described in the 2012 book The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor.The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010.The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his unusual bond with Adele's niece Maria Altmann, published in August 2012.In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg. The painting of Adele - Maria's aunt - was the centerpiece for the story.The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by Laurie Lico Albanese.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7 million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had "tried to do good things with the money". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First Lady Michelle Obama, by Amy Sherald in 2018.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Portrait of Adele Bloch-Bauer I

Prompt: In Portrait of Adele Bloch-Bauer I, how is the Legacy discussed?

The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt (2007), The Rape of Europa (2007) and Adele's Wish (2008).The painting's history is described in the 2012 book The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor.The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010.The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his unusual bond with Adele's niece Maria Altmann, published in August 2012.In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg. The painting of Adele - Maria's aunt - was the centerpiece for the story.The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by Laurie Lico Albanese.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7 million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had "tried to do good things with the money". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First Lady Michelle Obama, by Amy Sherald in 2018.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''


Bacchus and Ariadne

Prompt: Focus on Bacchus and Ariadne and explain the abstract.

Bacchus and Ariadne (1522–1523) is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus. At the time of Raphael's death in 1520, only a preliminary drawing was completed. The commission was then handed to Titian. In the case of Bacchus and Ariadne, the subject matter was derived from the Roman poets Catullus and Ovid, and perhaps other classical authors.The painting, considered one of Titian's greatest works, is now in the National Gallery, London. The other major paintings in the cycle are The Feast of the Gods, mostly by Giovanni Bellini, now in the National Gallery of Art, Washington, D.C, and Titian's The Bacchanal of the Andrians and The Worship of Venus, both now in the Museo del Prado, Madrid.  The series was a very early treatment of subjects from classical mythology on a heroic scale in painting, rather than in small decorative pieces, and very influential on later works.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Explain the abstract of this artwork, Bacchus and Ariadne.

Bacchus and Ariadne (1522–1523) is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus. At the time of Raphael's death in 1520, only a preliminary drawing was completed. The commission was then handed to Titian. In the case of Bacchus and Ariadne, the subject matter was derived from the Roman poets Catullus and Ovid, and perhaps other classical authors.The painting, considered one of Titian's greatest works, is now in the National Gallery, London. The other major paintings in the cycle are The Feast of the Gods, mostly by Giovanni Bellini, now in the National Gallery of Art, Washington, D.C, and Titian's The Bacchanal of the Andrians and The Worship of Venus, both now in the Museo del Prado, Madrid.  The series was a very early treatment of subjects from classical mythology on a heroic scale in painting, rather than in small decorative pieces, and very influential on later works.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: How does Bacchus and Ariadne explain its abstract?

Bacchus and Ariadne (1522–1523) is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus. At the time of Raphael's death in 1520, only a preliminary drawing was completed. The commission was then handed to Titian. In the case of Bacchus and Ariadne, the subject matter was derived from the Roman poets Catullus and Ovid, and perhaps other classical authors.The painting, considered one of Titian's greatest works, is now in the National Gallery, London. The other major paintings in the cycle are The Feast of the Gods, mostly by Giovanni Bellini, now in the National Gallery of Art, Washington, D.C, and Titian's The Bacchanal of the Andrians and The Worship of Venus, both now in the Museo del Prado, Madrid.  The series was a very early treatment of subjects from classical mythology on a heroic scale in painting, rather than in small decorative pieces, and very influential on later works.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: In Bacchus and Ariadne, how is the abstract discussed?

Bacchus and Ariadne (1522–1523) is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus. At the time of Raphael's death in 1520, only a preliminary drawing was completed. The commission was then handed to Titian. In the case of Bacchus and Ariadne, the subject matter was derived from the Roman poets Catullus and Ovid, and perhaps other classical authors.The painting, considered one of Titian's greatest works, is now in the National Gallery, London. The other major paintings in the cycle are The Feast of the Gods, mostly by Giovanni Bellini, now in the National Gallery of Art, Washington, D.C, and Titian's The Bacchanal of the Andrians and The Worship of Venus, both now in the Museo del Prado, Madrid.  The series was a very early treatment of subjects from classical mythology on a heroic scale in painting, rather than in small decorative pieces, and very influential on later works.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Focus on Bacchus and Ariadne and explain the Description.

Ariadne has been left on the island of Naxos, deserted by her lover Theseus, whose ship sails away to the far left. She is discovered on the shore by the god Bacchus, leading a procession of revellers in a chariot drawn by two cheetahs. These were probably modelled on those in the Duke's menagerie and were tigers in Ovid's original text. Another option is that Titian was asked by his patron Alfonso I d’Este to create cheetahs inspired by Imagines of Philostratus. Bacchus is depicted in mid-air as he leaps out of the chariot, taking her with him. In the sky above the figure of Ariadne is the star constellation Corona Borealis, the Northern Crown. The National Gallery's website describes the scene: "Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on first sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head."The composition is divided diagonally into two triangles, one of blue sky, using the expensive ultramarine pigment, and still but for the two lovers caught in movement, the other a riot of movement and predominantly green/brown in colour. The follower of Bacchus who struggles with a snake is sometimes associated with the antique sculpture of Laocoön and His Sons who had been killed by snakes. This statue had recently been discovered in Rome, and Titian had a history of sketching this figure, as seen through a woodcut completed from Titian's sketch of Laocoön and his sons. But the satyr in Titian's painting is not in a mortal combat with the snakes, he is merely girding himself with them as is described in the original text by Catullus. The King Charles Spaniel that barks at the boy satyr is a common motif in Titian's work and was probably a court pet. The gold urn inscribed with the artist's signature (TICIANVS) may also have been familiar to the Duke as one of the antiquities in his collection.Fern Luskin argues in “Titian's Bacchus and his two loves,” Titian represents not only Bacchus’ passion for Ariadne, but also his infatuation with a boy satyr, Ampelos, who struts at the center of the composition.  Bacchus’ love for Ampelos is told by the ancient Greek poet Nonnos in his Dionysiaca (Books 10 to 12).  Ampelos (meaning grapevine in Greek) merits such a prominent position in the painting because it was only through the boy’s death and metamorphosis into a grapevine that Bacchus was able to produce wine for the first time, thus giving life to Bacchus’ persona as the god of wine, the essence of his divinity.  According to Nonnos (Dionysiaca, 11. 236-7), when Ampelos died, the grief-stricken Bacchus garlanded the boy with ‘perishable anemone’ flowers.  This explains why Titian initially painted anemone flowers in Ampelos’ hair, now barely visible because he later replaced them with jasmine flowers.  Although anemone would have unmistakably identified the boy satyr as Ampelos, it “would have been anachronistic because, according to Nonnos (Dionysiaca, 11. 236-7), Bacchus crowned Ampelos with ‘perishable anemone’ after his death, whereas in Titian’s painting the boy is shown alive.” The analysis of pigments used by Titian in this painting has been undertaken by scientists at the National Gallery in London and this analysis is illustrated at ColourLex.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Explain the Description of this artwork, Bacchus and Ariadne.

Ariadne has been left on the island of Naxos, deserted by her lover Theseus, whose ship sails away to the far left. She is discovered on the shore by the god Bacchus, leading a procession of revellers in a chariot drawn by two cheetahs. These were probably modelled on those in the Duke's menagerie and were tigers in Ovid's original text. Another option is that Titian was asked by his patron Alfonso I d’Este to create cheetahs inspired by Imagines of Philostratus. Bacchus is depicted in mid-air as he leaps out of the chariot, taking her with him. In the sky above the figure of Ariadne is the star constellation Corona Borealis, the Northern Crown. The National Gallery's website describes the scene: "Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on first sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head."The composition is divided diagonally into two triangles, one of blue sky, using the expensive ultramarine pigment, and still but for the two lovers caught in movement, the other a riot of movement and predominantly green/brown in colour. The follower of Bacchus who struggles with a snake is sometimes associated with the antique sculpture of Laocoön and His Sons who had been killed by snakes. This statue had recently been discovered in Rome, and Titian had a history of sketching this figure, as seen through a woodcut completed from Titian's sketch of Laocoön and his sons. But the satyr in Titian's painting is not in a mortal combat with the snakes, he is merely girding himself with them as is described in the original text by Catullus. The King Charles Spaniel that barks at the boy satyr is a common motif in Titian's work and was probably a court pet. The gold urn inscribed with the artist's signature (TICIANVS) may also have been familiar to the Duke as one of the antiquities in his collection.Fern Luskin argues in “Titian's Bacchus and his two loves,” Titian represents not only Bacchus’ passion for Ariadne, but also his infatuation with a boy satyr, Ampelos, who struts at the center of the composition.  Bacchus’ love for Ampelos is told by the ancient Greek poet Nonnos in his Dionysiaca (Books 10 to 12).  Ampelos (meaning grapevine in Greek) merits such a prominent position in the painting because it was only through the boy’s death and metamorphosis into a grapevine that Bacchus was able to produce wine for the first time, thus giving life to Bacchus’ persona as the god of wine, the essence of his divinity.  According to Nonnos (Dionysiaca, 11. 236-7), when Ampelos died, the grief-stricken Bacchus garlanded the boy with ‘perishable anemone’ flowers.  This explains why Titian initially painted anemone flowers in Ampelos’ hair, now barely visible because he later replaced them with jasmine flowers.  Although anemone would have unmistakably identified the boy satyr as Ampelos, it “would have been anachronistic because, according to Nonnos (Dionysiaca, 11. 236-7), Bacchus crowned Ampelos with ‘perishable anemone’ after his death, whereas in Titian’s painting the boy is shown alive.” The analysis of pigments used by Titian in this painting has been undertaken by scientists at the National Gallery in London and this analysis is illustrated at ColourLex.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: How does Bacchus and Ariadne explain its Description?

Ariadne has been left on the island of Naxos, deserted by her lover Theseus, whose ship sails away to the far left. She is discovered on the shore by the god Bacchus, leading a procession of revellers in a chariot drawn by two cheetahs. These were probably modelled on those in the Duke's menagerie and were tigers in Ovid's original text. Another option is that Titian was asked by his patron Alfonso I d’Este to create cheetahs inspired by Imagines of Philostratus. Bacchus is depicted in mid-air as he leaps out of the chariot, taking her with him. In the sky above the figure of Ariadne is the star constellation Corona Borealis, the Northern Crown. The National Gallery's website describes the scene: "Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on first sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head."The composition is divided diagonally into two triangles, one of blue sky, using the expensive ultramarine pigment, and still but for the two lovers caught in movement, the other a riot of movement and predominantly green/brown in colour. The follower of Bacchus who struggles with a snake is sometimes associated with the antique sculpture of Laocoön and His Sons who had been killed by snakes. This statue had recently been discovered in Rome, and Titian had a history of sketching this figure, as seen through a woodcut completed from Titian's sketch of Laocoön and his sons. But the satyr in Titian's painting is not in a mortal combat with the snakes, he is merely girding himself with them as is described in the original text by Catullus. The King Charles Spaniel that barks at the boy satyr is a common motif in Titian's work and was probably a court pet. The gold urn inscribed with the artist's signature (TICIANVS) may also have been familiar to the Duke as one of the antiquities in his collection.Fern Luskin argues in “Titian's Bacchus and his two loves,” Titian represents not only Bacchus’ passion for Ariadne, but also his infatuation with a boy satyr, Ampelos, who struts at the center of the composition.  Bacchus’ love for Ampelos is told by the ancient Greek poet Nonnos in his Dionysiaca (Books 10 to 12).  Ampelos (meaning grapevine in Greek) merits such a prominent position in the painting because it was only through the boy’s death and metamorphosis into a grapevine that Bacchus was able to produce wine for the first time, thus giving life to Bacchus’ persona as the god of wine, the essence of his divinity.  According to Nonnos (Dionysiaca, 11. 236-7), when Ampelos died, the grief-stricken Bacchus garlanded the boy with ‘perishable anemone’ flowers.  This explains why Titian initially painted anemone flowers in Ampelos’ hair, now barely visible because he later replaced them with jasmine flowers.  Although anemone would have unmistakably identified the boy satyr as Ampelos, it “would have been anachronistic because, according to Nonnos (Dionysiaca, 11. 236-7), Bacchus crowned Ampelos with ‘perishable anemone’ after his death, whereas in Titian’s painting the boy is shown alive.” The analysis of pigments used by Titian in this painting has been undertaken by scientists at the National Gallery in London and this analysis is illustrated at ColourLex.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: In Bacchus and Ariadne, how is the Description discussed?

Ariadne has been left on the island of Naxos, deserted by her lover Theseus, whose ship sails away to the far left. She is discovered on the shore by the god Bacchus, leading a procession of revellers in a chariot drawn by two cheetahs. These were probably modelled on those in the Duke's menagerie and were tigers in Ovid's original text. Another option is that Titian was asked by his patron Alfonso I d’Este to create cheetahs inspired by Imagines of Philostratus. Bacchus is depicted in mid-air as he leaps out of the chariot, taking her with him. In the sky above the figure of Ariadne is the star constellation Corona Borealis, the Northern Crown. The National Gallery's website describes the scene: "Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on first sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head."The composition is divided diagonally into two triangles, one of blue sky, using the expensive ultramarine pigment, and still but for the two lovers caught in movement, the other a riot of movement and predominantly green/brown in colour. The follower of Bacchus who struggles with a snake is sometimes associated with the antique sculpture of Laocoön and His Sons who had been killed by snakes. This statue had recently been discovered in Rome, and Titian had a history of sketching this figure, as seen through a woodcut completed from Titian's sketch of Laocoön and his sons. But the satyr in Titian's painting is not in a mortal combat with the snakes, he is merely girding himself with them as is described in the original text by Catullus. The King Charles Spaniel that barks at the boy satyr is a common motif in Titian's work and was probably a court pet. The gold urn inscribed with the artist's signature (TICIANVS) may also have been familiar to the Duke as one of the antiquities in his collection.Fern Luskin argues in “Titian's Bacchus and his two loves,” Titian represents not only Bacchus’ passion for Ariadne, but also his infatuation with a boy satyr, Ampelos, who struts at the center of the composition.  Bacchus’ love for Ampelos is told by the ancient Greek poet Nonnos in his Dionysiaca (Books 10 to 12).  Ampelos (meaning grapevine in Greek) merits such a prominent position in the painting because it was only through the boy’s death and metamorphosis into a grapevine that Bacchus was able to produce wine for the first time, thus giving life to Bacchus’ persona as the god of wine, the essence of his divinity.  According to Nonnos (Dionysiaca, 11. 236-7), when Ampelos died, the grief-stricken Bacchus garlanded the boy with ‘perishable anemone’ flowers.  This explains why Titian initially painted anemone flowers in Ampelos’ hair, now barely visible because he later replaced them with jasmine flowers.  Although anemone would have unmistakably identified the boy satyr as Ampelos, it “would have been anachronistic because, according to Nonnos (Dionysiaca, 11. 236-7), Bacchus crowned Ampelos with ‘perishable anemone’ after his death, whereas in Titian’s painting the boy is shown alive.” The analysis of pigments used by Titian in this painting has been undertaken by scientists at the National Gallery in London and this analysis is illustrated at ColourLex.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Focus on Bacchus and Ariadne and explain the Literary sources.

There is continued discussion about which work or works of ancient literature Titian's painting is based on. Titian himself did not read Latin, still less Greek, but he had a number of friends who could help him with details from classical works not yet translated into Italian.  Until the 1940s, Catullus' 64th poem was considered to be the inspiration, due to the fact that it includes multiple images from Catullus' poem, such as the tambourine, cymbals, and the Satyr wrapped in serpents. In 1948, art historian Edgar Wind suggested instead that this image was based on Ovid's Fasti Book 3. Wind contended that this was the true literary source because it accounted for Bacchus leaping from the chariot, the presence of the constellation in the sky, and the fact that Ariadne is awake in this image (many depictions show Bacchus seeing Ariadne for the first time while she is asleep). Other scholars have suggested that the Northern Crown points to other works by Ovid, either his Metamorphoses, in which Bacchus throws the crown of Ariadne into the sky where it becomes the constellation Northern Crown, or his Ars Amatoria, in which Bacchus promises the entire sky to Ariadne where she then would become the Northern Crown. At the extreme right of the Bacchus and Ariadne is a shaggy Silenus holding a vine-clad staff.  According to Luskin, he is the vision Bacchus sees of Eros after Ampelos’ death who, as recounted by Nonnos (Dionysiaca, XI. 351-4), appears to the wine god ‘in the horned shape of a shaggy Seilenos…’ holding a fennel staff.  His staff, however, is not a thyrsus made from a fennel stalk.  It is a reed-pole.  But, it is no ordinary reed-pole.  This reed-pole was formerly Calamos (meaning reed), another of Bacchus’ young companions who metamorphosed into a reed after committing suicide in the Dionysiaca, 11. 369–481. The grapevine entwining the Silenus’ reed-pole is Ampelos undergoing his transformation into a grapevine before our very eyes, an event described by Nonnos in Book 12. 173–84.  This miraculously formed grapevine has not yet produced any grapes, only leaves and tendrils, because the Italian name for Ampelos, Pampino, means immature grapevine and Titian is showing the very beginning of his metamorphosis into a grapevine. The bullock’s leg the shaggy Silenus grasps in his other hand is based on Catullus’ line about the Sileni in Bacchus’ retinue who “hurled the limbs of a young bullock torn in pieces.”  Thus, this Silenus plays a dual role, that is, in his left hand, as Nonnos’ shaggy Silenus/Eros who supports himself on his staff, and in his right hand, as one of Catullus’ Sileni who celebrate the Bacchic mystery rites by flinging a bullock's leg.Luskin summarizes: “In his Bacchus and Ariadne, Titian seamlessly conflated the texts, or translations, of four ancient authors, adding a few motifs of his own invention, and included Bacchus' two love interests, one homosexual, the other, heterosexual, thereby creating a pictorial version of these stories that was completely unprecedented.  Telescoping time, the painter represented the god's current love, Ariadne, both in the alluring present and in the future, immortalized as a constellation [the Corona Borealis], and his former love, Ampelos, both as boy-satyr, and as the grapevine into which he was transformed.  He placed the wine god at the fulcrum of the composition, with Ariadne on the left and his past love, Ampelos, front and centre to emphasize that the god’s role as divine vintager was made possible by this young satyr.”Titian’s depiction of the shaggy Silenus and of Ampelos both as a boy satyr and in the process of metamorphosing into a grapevine that wreathes the Silenus’ reed-pole may suggest that Nonnos’ Dionysiaca was also a source for the Bacchus and Ariadne.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Explain the Literary sources of this artwork, Bacchus and Ariadne.

There is continued discussion about which work or works of ancient literature Titian's painting is based on. Titian himself did not read Latin, still less Greek, but he had a number of friends who could help him with details from classical works not yet translated into Italian.  Until the 1940s, Catullus' 64th poem was considered to be the inspiration, due to the fact that it includes multiple images from Catullus' poem, such as the tambourine, cymbals, and the Satyr wrapped in serpents. In 1948, art historian Edgar Wind suggested instead that this image was based on Ovid's Fasti Book 3. Wind contended that this was the true literary source because it accounted for Bacchus leaping from the chariot, the presence of the constellation in the sky, and the fact that Ariadne is awake in this image (many depictions show Bacchus seeing Ariadne for the first time while she is asleep). Other scholars have suggested that the Northern Crown points to other works by Ovid, either his Metamorphoses, in which Bacchus throws the crown of Ariadne into the sky where it becomes the constellation Northern Crown, or his Ars Amatoria, in which Bacchus promises the entire sky to Ariadne where she then would become the Northern Crown. At the extreme right of the Bacchus and Ariadne is a shaggy Silenus holding a vine-clad staff.  According to Luskin, he is the vision Bacchus sees of Eros after Ampelos’ death who, as recounted by Nonnos (Dionysiaca, XI. 351-4), appears to the wine god ‘in the horned shape of a shaggy Seilenos…’ holding a fennel staff.  His staff, however, is not a thyrsus made from a fennel stalk.  It is a reed-pole.  But, it is no ordinary reed-pole.  This reed-pole was formerly Calamos (meaning reed), another of Bacchus’ young companions who metamorphosed into a reed after committing suicide in the Dionysiaca, 11. 369–481. The grapevine entwining the Silenus’ reed-pole is Ampelos undergoing his transformation into a grapevine before our very eyes, an event described by Nonnos in Book 12. 173–84.  This miraculously formed grapevine has not yet produced any grapes, only leaves and tendrils, because the Italian name for Ampelos, Pampino, means immature grapevine and Titian is showing the very beginning of his metamorphosis into a grapevine. The bullock’s leg the shaggy Silenus grasps in his other hand is based on Catullus’ line about the Sileni in Bacchus’ retinue who “hurled the limbs of a young bullock torn in pieces.”  Thus, this Silenus plays a dual role, that is, in his left hand, as Nonnos’ shaggy Silenus/Eros who supports himself on his staff, and in his right hand, as one of Catullus’ Sileni who celebrate the Bacchic mystery rites by flinging a bullock's leg.Luskin summarizes: “In his Bacchus and Ariadne, Titian seamlessly conflated the texts, or translations, of four ancient authors, adding a few motifs of his own invention, and included Bacchus' two love interests, one homosexual, the other, heterosexual, thereby creating a pictorial version of these stories that was completely unprecedented.  Telescoping time, the painter represented the god's current love, Ariadne, both in the alluring present and in the future, immortalized as a constellation [the Corona Borealis], and his former love, Ampelos, both as boy-satyr, and as the grapevine into which he was transformed.  He placed the wine god at the fulcrum of the composition, with Ariadne on the left and his past love, Ampelos, front and centre to emphasize that the god’s role as divine vintager was made possible by this young satyr.”Titian’s depiction of the shaggy Silenus and of Ampelos both as a boy satyr and in the process of metamorphosing into a grapevine that wreathes the Silenus’ reed-pole may suggest that Nonnos’ Dionysiaca was also a source for the Bacchus and Ariadne.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: How does Bacchus and Ariadne explain its Literary sources?

There is continued discussion about which work or works of ancient literature Titian's painting is based on. Titian himself did not read Latin, still less Greek, but he had a number of friends who could help him with details from classical works not yet translated into Italian.  Until the 1940s, Catullus' 64th poem was considered to be the inspiration, due to the fact that it includes multiple images from Catullus' poem, such as the tambourine, cymbals, and the Satyr wrapped in serpents. In 1948, art historian Edgar Wind suggested instead that this image was based on Ovid's Fasti Book 3. Wind contended that this was the true literary source because it accounted for Bacchus leaping from the chariot, the presence of the constellation in the sky, and the fact that Ariadne is awake in this image (many depictions show Bacchus seeing Ariadne for the first time while she is asleep). Other scholars have suggested that the Northern Crown points to other works by Ovid, either his Metamorphoses, in which Bacchus throws the crown of Ariadne into the sky where it becomes the constellation Northern Crown, or his Ars Amatoria, in which Bacchus promises the entire sky to Ariadne where she then would become the Northern Crown. At the extreme right of the Bacchus and Ariadne is a shaggy Silenus holding a vine-clad staff.  According to Luskin, he is the vision Bacchus sees of Eros after Ampelos’ death who, as recounted by Nonnos (Dionysiaca, XI. 351-4), appears to the wine god ‘in the horned shape of a shaggy Seilenos…’ holding a fennel staff.  His staff, however, is not a thyrsus made from a fennel stalk.  It is a reed-pole.  But, it is no ordinary reed-pole.  This reed-pole was formerly Calamos (meaning reed), another of Bacchus’ young companions who metamorphosed into a reed after committing suicide in the Dionysiaca, 11. 369–481. The grapevine entwining the Silenus’ reed-pole is Ampelos undergoing his transformation into a grapevine before our very eyes, an event described by Nonnos in Book 12. 173–84.  This miraculously formed grapevine has not yet produced any grapes, only leaves and tendrils, because the Italian name for Ampelos, Pampino, means immature grapevine and Titian is showing the very beginning of his metamorphosis into a grapevine. The bullock’s leg the shaggy Silenus grasps in his other hand is based on Catullus’ line about the Sileni in Bacchus’ retinue who “hurled the limbs of a young bullock torn in pieces.”  Thus, this Silenus plays a dual role, that is, in his left hand, as Nonnos’ shaggy Silenus/Eros who supports himself on his staff, and in his right hand, as one of Catullus’ Sileni who celebrate the Bacchic mystery rites by flinging a bullock's leg.Luskin summarizes: “In his Bacchus and Ariadne, Titian seamlessly conflated the texts, or translations, of four ancient authors, adding a few motifs of his own invention, and included Bacchus' two love interests, one homosexual, the other, heterosexual, thereby creating a pictorial version of these stories that was completely unprecedented.  Telescoping time, the painter represented the god's current love, Ariadne, both in the alluring present and in the future, immortalized as a constellation [the Corona Borealis], and his former love, Ampelos, both as boy-satyr, and as the grapevine into which he was transformed.  He placed the wine god at the fulcrum of the composition, with Ariadne on the left and his past love, Ampelos, front and centre to emphasize that the god’s role as divine vintager was made possible by this young satyr.”Titian’s depiction of the shaggy Silenus and of Ampelos both as a boy satyr and in the process of metamorphosing into a grapevine that wreathes the Silenus’ reed-pole may suggest that Nonnos’ Dionysiaca was also a source for the Bacchus and Ariadne.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: In Bacchus and Ariadne, how is the Literary sources discussed?

There is continued discussion about which work or works of ancient literature Titian's painting is based on. Titian himself did not read Latin, still less Greek, but he had a number of friends who could help him with details from classical works not yet translated into Italian.  Until the 1940s, Catullus' 64th poem was considered to be the inspiration, due to the fact that it includes multiple images from Catullus' poem, such as the tambourine, cymbals, and the Satyr wrapped in serpents. In 1948, art historian Edgar Wind suggested instead that this image was based on Ovid's Fasti Book 3. Wind contended that this was the true literary source because it accounted for Bacchus leaping from the chariot, the presence of the constellation in the sky, and the fact that Ariadne is awake in this image (many depictions show Bacchus seeing Ariadne for the first time while she is asleep). Other scholars have suggested that the Northern Crown points to other works by Ovid, either his Metamorphoses, in which Bacchus throws the crown of Ariadne into the sky where it becomes the constellation Northern Crown, or his Ars Amatoria, in which Bacchus promises the entire sky to Ariadne where she then would become the Northern Crown. At the extreme right of the Bacchus and Ariadne is a shaggy Silenus holding a vine-clad staff.  According to Luskin, he is the vision Bacchus sees of Eros after Ampelos’ death who, as recounted by Nonnos (Dionysiaca, XI. 351-4), appears to the wine god ‘in the horned shape of a shaggy Seilenos…’ holding a fennel staff.  His staff, however, is not a thyrsus made from a fennel stalk.  It is a reed-pole.  But, it is no ordinary reed-pole.  This reed-pole was formerly Calamos (meaning reed), another of Bacchus’ young companions who metamorphosed into a reed after committing suicide in the Dionysiaca, 11. 369–481. The grapevine entwining the Silenus’ reed-pole is Ampelos undergoing his transformation into a grapevine before our very eyes, an event described by Nonnos in Book 12. 173–84.  This miraculously formed grapevine has not yet produced any grapes, only leaves and tendrils, because the Italian name for Ampelos, Pampino, means immature grapevine and Titian is showing the very beginning of his metamorphosis into a grapevine. The bullock’s leg the shaggy Silenus grasps in his other hand is based on Catullus’ line about the Sileni in Bacchus’ retinue who “hurled the limbs of a young bullock torn in pieces.”  Thus, this Silenus plays a dual role, that is, in his left hand, as Nonnos’ shaggy Silenus/Eros who supports himself on his staff, and in his right hand, as one of Catullus’ Sileni who celebrate the Bacchic mystery rites by flinging a bullock's leg.Luskin summarizes: “In his Bacchus and Ariadne, Titian seamlessly conflated the texts, or translations, of four ancient authors, adding a few motifs of his own invention, and included Bacchus' two love interests, one homosexual, the other, heterosexual, thereby creating a pictorial version of these stories that was completely unprecedented.  Telescoping time, the painter represented the god's current love, Ariadne, both in the alluring present and in the future, immortalized as a constellation [the Corona Borealis], and his former love, Ampelos, both as boy-satyr, and as the grapevine into which he was transformed.  He placed the wine god at the fulcrum of the composition, with Ariadne on the left and his past love, Ampelos, front and centre to emphasize that the god’s role as divine vintager was made possible by this young satyr.”Titian’s depiction of the shaggy Silenus and of Ampelos both as a boy satyr and in the process of metamorphosing into a grapevine that wreathes the Silenus’ reed-pole may suggest that Nonnos’ Dionysiaca was also a source for the Bacchus and Ariadne.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Focus on Bacchus and Ariadne and explain the Restoration.

The canvas on which Bacchus and Ariadne is painted was rolled up twice in the first century of its existence, which had consequences for the painting. From the turn of the 19th century onwards it was frequently being restored to stop paint from flaking off, with the most controversial restoration being that carried out at the National Gallery between 1967 and 1968. This greatly brightened the surface of the painting, and came as something of a shock to many viewers, used to a heavy varnish finish.  When discoloured varnish lying directly on top of the paint surface was removed, some of the paint itself came off as well and repainting was necessary.This has caused some critics to note that the expanse of blue sky on the left-hand side, one of the worst-affected areas of the painting, appears flat and pallid. It has also been argued that the removal of the varnish has left the painting tonally out of balance, since Titian is likely to have added some subtle glazes to the paint surface in order to tone down some of the more jarring colours. The National Gallery maintains that this was an unavoidable loss, because the accrued layers of later varnish had turned the painting brown and sludgy and had to be removed.  More recent examination has confirmed that the paint remains largely original.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Explain the Restoration of this artwork, Bacchus and Ariadne.

The canvas on which Bacchus and Ariadne is painted was rolled up twice in the first century of its existence, which had consequences for the painting. From the turn of the 19th century onwards it was frequently being restored to stop paint from flaking off, with the most controversial restoration being that carried out at the National Gallery between 1967 and 1968. This greatly brightened the surface of the painting, and came as something of a shock to many viewers, used to a heavy varnish finish.  When discoloured varnish lying directly on top of the paint surface was removed, some of the paint itself came off as well and repainting was necessary.This has caused some critics to note that the expanse of blue sky on the left-hand side, one of the worst-affected areas of the painting, appears flat and pallid. It has also been argued that the removal of the varnish has left the painting tonally out of balance, since Titian is likely to have added some subtle glazes to the paint surface in order to tone down some of the more jarring colours. The National Gallery maintains that this was an unavoidable loss, because the accrued layers of later varnish had turned the painting brown and sludgy and had to be removed.  More recent examination has confirmed that the paint remains largely original.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: How does Bacchus and Ariadne explain its Restoration?

The canvas on which Bacchus and Ariadne is painted was rolled up twice in the first century of its existence, which had consequences for the painting. From the turn of the 19th century onwards it was frequently being restored to stop paint from flaking off, with the most controversial restoration being that carried out at the National Gallery between 1967 and 1968. This greatly brightened the surface of the painting, and came as something of a shock to many viewers, used to a heavy varnish finish.  When discoloured varnish lying directly on top of the paint surface was removed, some of the paint itself came off as well and repainting was necessary.This has caused some critics to note that the expanse of blue sky on the left-hand side, one of the worst-affected areas of the painting, appears flat and pallid. It has also been argued that the removal of the varnish has left the painting tonally out of balance, since Titian is likely to have added some subtle glazes to the paint surface in order to tone down some of the more jarring colours. The National Gallery maintains that this was an unavoidable loss, because the accrued layers of later varnish had turned the painting brown and sludgy and had to be removed.  More recent examination has confirmed that the paint remains largely original.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: In Bacchus and Ariadne, how is the Restoration discussed?

The canvas on which Bacchus and Ariadne is painted was rolled up twice in the first century of its existence, which had consequences for the painting. From the turn of the 19th century onwards it was frequently being restored to stop paint from flaking off, with the most controversial restoration being that carried out at the National Gallery between 1967 and 1968. This greatly brightened the surface of the painting, and came as something of a shock to many viewers, used to a heavy varnish finish.  When discoloured varnish lying directly on top of the paint surface was removed, some of the paint itself came off as well and repainting was necessary.This has caused some critics to note that the expanse of blue sky on the left-hand side, one of the worst-affected areas of the painting, appears flat and pallid. It has also been argued that the removal of the varnish has left the painting tonally out of balance, since Titian is likely to have added some subtle glazes to the paint surface in order to tone down some of the more jarring colours. The National Gallery maintains that this was an unavoidable loss, because the accrued layers of later varnish had turned the painting brown and sludgy and had to be removed.  More recent examination has confirmed that the paint remains largely original.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Focus on Bacchus and Ariadne and explain the Other paintings.

There are many other paintings of the subject in museum collections, including the following: Giovan Battista Pittoni (1720–1725), in the LouvreGuido Reni (Los Angeles)Ferdinand Bol, Hermitage MuseumEustache Le Sueur, Boston MFASebastiano Ricci, Chiswick HouseJacopo Tintoretto, Bacchus, Venus and Ariadne, Doge's Palace, Venice.A copy of Titian's painting by Nicolas Poussin is part of the collection at Alnwick Castle.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Explain the Other paintings of this artwork, Bacchus and Ariadne.

There are many other paintings of the subject in museum collections, including the following: Giovan Battista Pittoni (1720–1725), in the LouvreGuido Reni (Los Angeles)Ferdinand Bol, Hermitage MuseumEustache Le Sueur, Boston MFASebastiano Ricci, Chiswick HouseJacopo Tintoretto, Bacchus, Venus and Ariadne, Doge's Palace, Venice.A copy of Titian's painting by Nicolas Poussin is part of the collection at Alnwick Castle.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: How does Bacchus and Ariadne explain its Other paintings?

There are many other paintings of the subject in museum collections, including the following: Giovan Battista Pittoni (1720–1725), in the LouvreGuido Reni (Los Angeles)Ferdinand Bol, Hermitage MuseumEustache Le Sueur, Boston MFASebastiano Ricci, Chiswick HouseJacopo Tintoretto, Bacchus, Venus and Ariadne, Doge's Palace, Venice.A copy of Titian's painting by Nicolas Poussin is part of the collection at Alnwick Castle.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: In Bacchus and Ariadne, how is the Other paintings discussed?

There are many other paintings of the subject in museum collections, including the following: Giovan Battista Pittoni (1720–1725), in the LouvreGuido Reni (Los Angeles)Ferdinand Bol, Hermitage MuseumEustache Le Sueur, Boston MFASebastiano Ricci, Chiswick HouseJacopo Tintoretto, Bacchus, Venus and Ariadne, Doge's Palace, Venice.A copy of Titian's painting by Nicolas Poussin is part of the collection at Alnwick Castle.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Focus on Bacchus and Ariadne and explain the References in other media.

John Keats alluded to this painting (which was brought to England in 1806) in his "Ode to a Nightingale" ("Away! away! for I will fly to thee, Not charioted by Bacchus and his pards") and in "Lamia" ("Upon her crest she wore a wannish fire/Sprinkled with stars, like Ariadne's tiar").Letitia Elizabeth Landon reviews this work in her poem "Bacchus and Ariadne", first published in 1822, as a "Dramatic Scene", being a dialogue between Leonardi and Alvine.The painting was the basis for the cover of the 1993 album God Shuffled His Feet by rock band Crash Test Dummies.The Indonesian composer Ananda Sukarlan has made a musical work for flute and piano, "Rescuing Ariadne" after being inspired by Titian's painting in the National Gallery of London.In her novel Misalliance, Anita Brookner alludes to Titian's painting and depicts the encounter between Ariadne and Bacchus as an "ecstatic moment of recognition  [...], so immediate that Bacchus' foot has not had time to touch the ground as he leaps from his chariot, so shocking that Ariadne flings up a hand protest."

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Explain the References in other media of this artwork, Bacchus and Ariadne.

John Keats alluded to this painting (which was brought to England in 1806) in his "Ode to a Nightingale" ("Away! away! for I will fly to thee, Not charioted by Bacchus and his pards") and in "Lamia" ("Upon her crest she wore a wannish fire/Sprinkled with stars, like Ariadne's tiar").Letitia Elizabeth Landon reviews this work in her poem "Bacchus and Ariadne", first published in 1822, as a "Dramatic Scene", being a dialogue between Leonardi and Alvine.The painting was the basis for the cover of the 1993 album God Shuffled His Feet by rock band Crash Test Dummies.The Indonesian composer Ananda Sukarlan has made a musical work for flute and piano, "Rescuing Ariadne" after being inspired by Titian's painting in the National Gallery of London.In her novel Misalliance, Anita Brookner alludes to Titian's painting and depicts the encounter between Ariadne and Bacchus as an "ecstatic moment of recognition  [...], so immediate that Bacchus' foot has not had time to touch the ground as he leaps from his chariot, so shocking that Ariadne flings up a hand protest."

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro