St. Mark Preaching in Alexandria

Prompt: Focus on St. Mark Preaching in Alexandria and explain the History.

The work is a huge canvas (telero) destined for the Scuola Grande di San Marco in Venice. It is 26 m2 in surface, and has rich narrative and iconographic features. The cycle of paintings with stories of the life of St Mark was completed around 60 years later by Giorgione and Tintoretto, and is today housed in the Pinacoteca di Brera and the Accademia in Venice.The canvas was started by Gentile in July 1504, but after his death in February 1507, when it was "largely completed", it passed to his brother Giovanni, as indicated in Gentile's will. Giovanni completed it, making some modifications. The invitation to complete it was probably from his brother just before he died, to which Giovanni probably responded negatively, This explains its insertion in the will of the clause that consigned a precious collection of drawing to Giovanni should he complete the painting. The commission was confirmed as being passed to Giovanni by the Scuola on 7 March 1507.The scene is rich with exotic elements adapted from real-life that Gentile had the opportunity to study during his trip to Constantinople in 1479–1480. Decorative elements of Mamluk architecture, rather than Ottoman, suggest that the artist may also have reached Jerusalem. This painting combines two distinct moments in time, one ancient and one contemporary to Bellini's life, as well as three different places, Alexandria, Venice, and a mountainous landscape in the background. The arrangement of the huge "historia," imagined as an arranged portrayal on a wide stage shut on three sides by huge architectural dividers, was plainly Gentile. The style of the design proposed to the painter during his excursion in the East (where the Republic had sent him in 1479 in the entourage of a discretionary mission) is quite similar to Mameluke models, which prompted the hypothesis that Gentile may have continued from Constantinople to Jerusalem on a journey, and from that point have recorded new building thoughts that were not quite the same as Ottoman styles, the last being more natural to Venetians.It is not clear which parts were done by which brother: Vasari only mentioned Gentile in the 1550 version of the Vite, and omitting them in the 1568 edition. Modern criticism considers Gentile to have done the background, except for the modified parts, and possibly the characters on the right hand. Giovanni is assigned with some certainty the portraits on the left, and some of the central group.The painting of St. Mark Preaching in Alexandria was commissioned by the Scuola Grande di San Marco (Great Confraternity of St. Mark) in Venice for their gathering house in the Campo San Giovanni e Polo, perhaps the biggest important square in Venice. The great Confraternity of St. Mark was reconstructed after a massive fire took a hit on the old structure on 31 March 1485 toward the end of the fifteenth century. The room that contained the most prestigious paintings and focus was the meeting space where it demonstrated their patron saint's narrating life. The Scuola Grande di San Marco looked to the most valuable painter Gentile Bellini to create this painting.The canvas was reduced at an unknown time, a strip along the top being cut away, where the buildings finished. The work arrived in the Brera in 1809, following the Napoleonic invasion.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: Explain the History of this artwork, St. Mark Preaching in Alexandria.

The work is a huge canvas (telero) destined for the Scuola Grande di San Marco in Venice. It is 26 m2 in surface, and has rich narrative and iconographic features. The cycle of paintings with stories of the life of St Mark was completed around 60 years later by Giorgione and Tintoretto, and is today housed in the Pinacoteca di Brera and the Accademia in Venice.The canvas was started by Gentile in July 1504, but after his death in February 1507, when it was "largely completed", it passed to his brother Giovanni, as indicated in Gentile's will. Giovanni completed it, making some modifications. The invitation to complete it was probably from his brother just before he died, to which Giovanni probably responded negatively, This explains its insertion in the will of the clause that consigned a precious collection of drawing to Giovanni should he complete the painting. The commission was confirmed as being passed to Giovanni by the Scuola on 7 March 1507.The scene is rich with exotic elements adapted from real-life that Gentile had the opportunity to study during his trip to Constantinople in 1479–1480. Decorative elements of Mamluk architecture, rather than Ottoman, suggest that the artist may also have reached Jerusalem. This painting combines two distinct moments in time, one ancient and one contemporary to Bellini's life, as well as three different places, Alexandria, Venice, and a mountainous landscape in the background. The arrangement of the huge "historia," imagined as an arranged portrayal on a wide stage shut on three sides by huge architectural dividers, was plainly Gentile. The style of the design proposed to the painter during his excursion in the East (where the Republic had sent him in 1479 in the entourage of a discretionary mission) is quite similar to Mameluke models, which prompted the hypothesis that Gentile may have continued from Constantinople to Jerusalem on a journey, and from that point have recorded new building thoughts that were not quite the same as Ottoman styles, the last being more natural to Venetians.It is not clear which parts were done by which brother: Vasari only mentioned Gentile in the 1550 version of the Vite, and omitting them in the 1568 edition. Modern criticism considers Gentile to have done the background, except for the modified parts, and possibly the characters on the right hand. Giovanni is assigned with some certainty the portraits on the left, and some of the central group.The painting of St. Mark Preaching in Alexandria was commissioned by the Scuola Grande di San Marco (Great Confraternity of St. Mark) in Venice for their gathering house in the Campo San Giovanni e Polo, perhaps the biggest important square in Venice. The great Confraternity of St. Mark was reconstructed after a massive fire took a hit on the old structure on 31 March 1485 toward the end of the fifteenth century. The room that contained the most prestigious paintings and focus was the meeting space where it demonstrated their patron saint's narrating life. The Scuola Grande di San Marco looked to the most valuable painter Gentile Bellini to create this painting.The canvas was reduced at an unknown time, a strip along the top being cut away, where the buildings finished. The work arrived in the Brera in 1809, following the Napoleonic invasion.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: How does St. Mark Preaching in Alexandria explain its History?

The work is a huge canvas (telero) destined for the Scuola Grande di San Marco in Venice. It is 26 m2 in surface, and has rich narrative and iconographic features. The cycle of paintings with stories of the life of St Mark was completed around 60 years later by Giorgione and Tintoretto, and is today housed in the Pinacoteca di Brera and the Accademia in Venice.The canvas was started by Gentile in July 1504, but after his death in February 1507, when it was "largely completed", it passed to his brother Giovanni, as indicated in Gentile's will. Giovanni completed it, making some modifications. The invitation to complete it was probably from his brother just before he died, to which Giovanni probably responded negatively, This explains its insertion in the will of the clause that consigned a precious collection of drawing to Giovanni should he complete the painting. The commission was confirmed as being passed to Giovanni by the Scuola on 7 March 1507.The scene is rich with exotic elements adapted from real-life that Gentile had the opportunity to study during his trip to Constantinople in 1479–1480. Decorative elements of Mamluk architecture, rather than Ottoman, suggest that the artist may also have reached Jerusalem. This painting combines two distinct moments in time, one ancient and one contemporary to Bellini's life, as well as three different places, Alexandria, Venice, and a mountainous landscape in the background. The arrangement of the huge "historia," imagined as an arranged portrayal on a wide stage shut on three sides by huge architectural dividers, was plainly Gentile. The style of the design proposed to the painter during his excursion in the East (where the Republic had sent him in 1479 in the entourage of a discretionary mission) is quite similar to Mameluke models, which prompted the hypothesis that Gentile may have continued from Constantinople to Jerusalem on a journey, and from that point have recorded new building thoughts that were not quite the same as Ottoman styles, the last being more natural to Venetians.It is not clear which parts were done by which brother: Vasari only mentioned Gentile in the 1550 version of the Vite, and omitting them in the 1568 edition. Modern criticism considers Gentile to have done the background, except for the modified parts, and possibly the characters on the right hand. Giovanni is assigned with some certainty the portraits on the left, and some of the central group.The painting of St. Mark Preaching in Alexandria was commissioned by the Scuola Grande di San Marco (Great Confraternity of St. Mark) in Venice for their gathering house in the Campo San Giovanni e Polo, perhaps the biggest important square in Venice. The great Confraternity of St. Mark was reconstructed after a massive fire took a hit on the old structure on 31 March 1485 toward the end of the fifteenth century. The room that contained the most prestigious paintings and focus was the meeting space where it demonstrated their patron saint's narrating life. The Scuola Grande di San Marco looked to the most valuable painter Gentile Bellini to create this painting.The canvas was reduced at an unknown time, a strip along the top being cut away, where the buildings finished. The work arrived in the Brera in 1809, following the Napoleonic invasion.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: In St. Mark Preaching in Alexandria, how is the History discussed?

The work is a huge canvas (telero) destined for the Scuola Grande di San Marco in Venice. It is 26 m2 in surface, and has rich narrative and iconographic features. The cycle of paintings with stories of the life of St Mark was completed around 60 years later by Giorgione and Tintoretto, and is today housed in the Pinacoteca di Brera and the Accademia in Venice.The canvas was started by Gentile in July 1504, but after his death in February 1507, when it was "largely completed", it passed to his brother Giovanni, as indicated in Gentile's will. Giovanni completed it, making some modifications. The invitation to complete it was probably from his brother just before he died, to which Giovanni probably responded negatively, This explains its insertion in the will of the clause that consigned a precious collection of drawing to Giovanni should he complete the painting. The commission was confirmed as being passed to Giovanni by the Scuola on 7 March 1507.The scene is rich with exotic elements adapted from real-life that Gentile had the opportunity to study during his trip to Constantinople in 1479–1480. Decorative elements of Mamluk architecture, rather than Ottoman, suggest that the artist may also have reached Jerusalem. This painting combines two distinct moments in time, one ancient and one contemporary to Bellini's life, as well as three different places, Alexandria, Venice, and a mountainous landscape in the background. The arrangement of the huge "historia," imagined as an arranged portrayal on a wide stage shut on three sides by huge architectural dividers, was plainly Gentile. The style of the design proposed to the painter during his excursion in the East (where the Republic had sent him in 1479 in the entourage of a discretionary mission) is quite similar to Mameluke models, which prompted the hypothesis that Gentile may have continued from Constantinople to Jerusalem on a journey, and from that point have recorded new building thoughts that were not quite the same as Ottoman styles, the last being more natural to Venetians.It is not clear which parts were done by which brother: Vasari only mentioned Gentile in the 1550 version of the Vite, and omitting them in the 1568 edition. Modern criticism considers Gentile to have done the background, except for the modified parts, and possibly the characters on the right hand. Giovanni is assigned with some certainty the portraits on the left, and some of the central group.The painting of St. Mark Preaching in Alexandria was commissioned by the Scuola Grande di San Marco (Great Confraternity of St. Mark) in Venice for their gathering house in the Campo San Giovanni e Polo, perhaps the biggest important square in Venice. The great Confraternity of St. Mark was reconstructed after a massive fire took a hit on the old structure on 31 March 1485 toward the end of the fifteenth century. The room that contained the most prestigious paintings and focus was the meeting space where it demonstrated their patron saint's narrating life. The Scuola Grande di San Marco looked to the most valuable painter Gentile Bellini to create this painting.The canvas was reduced at an unknown time, a strip along the top being cut away, where the buildings finished. The work arrived in the Brera in 1809, following the Napoleonic invasion.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: Focus on St. Mark Preaching in Alexandria and explain the Description.

The large-scale oil painting depicts a massive stage in the center of the main city and the pavement appears to be created of large square red brick stones. Behind the stage are three tall blue domed temples along with minaret-like towers and big square light colored houses, along the side as well. The side buildings are decorated with light colored red facade and rooftop porches on top. In front of the stage, there are about a hundred contrastingly dressed individuals who have assembled on this square. The men are shown wearing caftans, frocks, cloaks, turbans, and immense hats, while the women are dressed in white from head to ankle-length veils. The attribution of the different pieces of the work to every artisan is as yet a matter of discussion among researchers; in any case, the most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.The background of the painting is overpowered by the assortment and distinction of various building structures and models that are reflected by the painted cityscape. In one manner or the other, the various buildings all appear to insinuate a wide range of Eastern Mediterranean architectural types. To indicate just a portion of the implications: The gigantic structure in the focal point of the square, for instance, looks to some extent like Eastern holy places. With its structure of round curves, its marble-shaded façade adornments, and glossy vault covers, it reviews a portion of the primary qualities of early Byzantine holy places. The most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: Explain the Description of this artwork, St. Mark Preaching in Alexandria.

The large-scale oil painting depicts a massive stage in the center of the main city and the pavement appears to be created of large square red brick stones. Behind the stage are three tall blue domed temples along with minaret-like towers and big square light colored houses, along the side as well. The side buildings are decorated with light colored red facade and rooftop porches on top. In front of the stage, there are about a hundred contrastingly dressed individuals who have assembled on this square. The men are shown wearing caftans, frocks, cloaks, turbans, and immense hats, while the women are dressed in white from head to ankle-length veils. The attribution of the different pieces of the work to every artisan is as yet a matter of discussion among researchers; in any case, the most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.The background of the painting is overpowered by the assortment and distinction of various building structures and models that are reflected by the painted cityscape. In one manner or the other, the various buildings all appear to insinuate a wide range of Eastern Mediterranean architectural types. To indicate just a portion of the implications: The gigantic structure in the focal point of the square, for instance, looks to some extent like Eastern holy places. With its structure of round curves, its marble-shaded façade adornments, and glossy vault covers, it reviews a portion of the primary qualities of early Byzantine holy places. The most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: How does St. Mark Preaching in Alexandria explain its Description?

The large-scale oil painting depicts a massive stage in the center of the main city and the pavement appears to be created of large square red brick stones. Behind the stage are three tall blue domed temples along with minaret-like towers and big square light colored houses, along the side as well. The side buildings are decorated with light colored red facade and rooftop porches on top. In front of the stage, there are about a hundred contrastingly dressed individuals who have assembled on this square. The men are shown wearing caftans, frocks, cloaks, turbans, and immense hats, while the women are dressed in white from head to ankle-length veils. The attribution of the different pieces of the work to every artisan is as yet a matter of discussion among researchers; in any case, the most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.The background of the painting is overpowered by the assortment and distinction of various building structures and models that are reflected by the painted cityscape. In one manner or the other, the various buildings all appear to insinuate a wide range of Eastern Mediterranean architectural types. To indicate just a portion of the implications: The gigantic structure in the focal point of the square, for instance, looks to some extent like Eastern holy places. With its structure of round curves, its marble-shaded façade adornments, and glossy vault covers, it reviews a portion of the primary qualities of early Byzantine holy places. The most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: In St. Mark Preaching in Alexandria, how is the Description discussed?

The large-scale oil painting depicts a massive stage in the center of the main city and the pavement appears to be created of large square red brick stones. Behind the stage are three tall blue domed temples along with minaret-like towers and big square light colored houses, along the side as well. The side buildings are decorated with light colored red facade and rooftop porches on top. In front of the stage, there are about a hundred contrastingly dressed individuals who have assembled on this square. The men are shown wearing caftans, frocks, cloaks, turbans, and immense hats, while the women are dressed in white from head to ankle-length veils. The attribution of the different pieces of the work to every artisan is as yet a matter of discussion among researchers; in any case, the most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.The background of the painting is overpowered by the assortment and distinction of various building structures and models that are reflected by the painted cityscape. In one manner or the other, the various buildings all appear to insinuate a wide range of Eastern Mediterranean architectural types. To indicate just a portion of the implications: The gigantic structure in the focal point of the square, for instance, looks to some extent like Eastern holy places. With its structure of round curves, its marble-shaded façade adornments, and glossy vault covers, it reviews a portion of the primary qualities of early Byzantine holy places. The most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: Focus on St. Mark Preaching in Alexandria and explain the Subject.

This painting depicts St. Mark, who lived in Alexandria in the first-century. In the painting, he is preaching to Muslims and some Venetian guests, including peers of the artist and Gentile himself. The structure behind resembles San Marco in Venice, but with the lack of its decoration and sculptural figures. St. Mark Preaching in Alexandria presents two particular moments in history and three spots—Alexandria, Venice, and the mountains. Since many Venetians would not have understood what Alexandria looked like, everybody would have perceived it as San Marco. The hieroglyph on the obelisk directly above Mark symbolizes that the ancient Egyptians foresaw Christianity. By including contemporary Venetians and Mamluk Egyptians, Gentile is actually making a reference to the present and expressing a hope of hope of reconverting these Muslims to Christianity. St. Mark Preaching in Alexandria makes known the expectation of reconverting Alexandria, with St. Mark as an exemplar. Gentile Bellini presented the canvas as a substitute history where Venetians and Muslims intermix in a spot that is neither Venice nor Alexandria and is instead a fanciful city joining highlights of the two locations.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: Explain the Subject of this artwork, St. Mark Preaching in Alexandria.

This painting depicts St. Mark, who lived in Alexandria in the first-century. In the painting, he is preaching to Muslims and some Venetian guests, including peers of the artist and Gentile himself. The structure behind resembles San Marco in Venice, but with the lack of its decoration and sculptural figures. St. Mark Preaching in Alexandria presents two particular moments in history and three spots—Alexandria, Venice, and the mountains. Since many Venetians would not have understood what Alexandria looked like, everybody would have perceived it as San Marco. The hieroglyph on the obelisk directly above Mark symbolizes that the ancient Egyptians foresaw Christianity. By including contemporary Venetians and Mamluk Egyptians, Gentile is actually making a reference to the present and expressing a hope of hope of reconverting these Muslims to Christianity. St. Mark Preaching in Alexandria makes known the expectation of reconverting Alexandria, with St. Mark as an exemplar. Gentile Bellini presented the canvas as a substitute history where Venetians and Muslims intermix in a spot that is neither Venice nor Alexandria and is instead a fanciful city joining highlights of the two locations.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: How does St. Mark Preaching in Alexandria explain its Subject?

This painting depicts St. Mark, who lived in Alexandria in the first-century. In the painting, he is preaching to Muslims and some Venetian guests, including peers of the artist and Gentile himself. The structure behind resembles San Marco in Venice, but with the lack of its decoration and sculptural figures. St. Mark Preaching in Alexandria presents two particular moments in history and three spots—Alexandria, Venice, and the mountains. Since many Venetians would not have understood what Alexandria looked like, everybody would have perceived it as San Marco. The hieroglyph on the obelisk directly above Mark symbolizes that the ancient Egyptians foresaw Christianity. By including contemporary Venetians and Mamluk Egyptians, Gentile is actually making a reference to the present and expressing a hope of hope of reconverting these Muslims to Christianity. St. Mark Preaching in Alexandria makes known the expectation of reconverting Alexandria, with St. Mark as an exemplar. Gentile Bellini presented the canvas as a substitute history where Venetians and Muslims intermix in a spot that is neither Venice nor Alexandria and is instead a fanciful city joining highlights of the two locations.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: In St. Mark Preaching in Alexandria, how is the Subject discussed?

This painting depicts St. Mark, who lived in Alexandria in the first-century. In the painting, he is preaching to Muslims and some Venetian guests, including peers of the artist and Gentile himself. The structure behind resembles San Marco in Venice, but with the lack of its decoration and sculptural figures. St. Mark Preaching in Alexandria presents two particular moments in history and three spots—Alexandria, Venice, and the mountains. Since many Venetians would not have understood what Alexandria looked like, everybody would have perceived it as San Marco. The hieroglyph on the obelisk directly above Mark symbolizes that the ancient Egyptians foresaw Christianity. By including contemporary Venetians and Mamluk Egyptians, Gentile is actually making a reference to the present and expressing a hope of hope of reconverting these Muslims to Christianity. St. Mark Preaching in Alexandria makes known the expectation of reconverting Alexandria, with St. Mark as an exemplar. Gentile Bellini presented the canvas as a substitute history where Venetians and Muslims intermix in a spot that is neither Venice nor Alexandria and is instead a fanciful city joining highlights of the two locations.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: In the context of St. Mark Preaching in Alexandria, explain the Gentile Bellini and the Attribution.

Gentile Bellini (1429–1507) was born in Venice and was very well known during his time; he was the son of a wealthy artist, Jacobo Bellini, and the older brother of Giovanni Bellini. Gentile was an equipped and fastidious painter and ran the Bellini family workshop, yet he was eclipsed by his more skilled and imaginative sibling Giovanni. He was a Venetian painter particularly known for representations and compositions of the public buildings. Gentile was one of the first to begin the use of oil painting and of the canvas. Venetian painters in the fifteenth-century incorporated stories in their paintings. This style was portrayed with attention on all details of the picture. The main subject of the painting was regularly out of sight, aside, or in any case marginally darkened.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: Explain the Gentile Bellini about the Attribution of this artwork, St. Mark Preaching in Alexandria.

Gentile Bellini (1429–1507) was born in Venice and was very well known during his time; he was the son of a wealthy artist, Jacobo Bellini, and the older brother of Giovanni Bellini. Gentile was an equipped and fastidious painter and ran the Bellini family workshop, yet he was eclipsed by his more skilled and imaginative sibling Giovanni. He was a Venetian painter particularly known for representations and compositions of the public buildings. Gentile was one of the first to begin the use of oil painting and of the canvas. Venetian painters in the fifteenth-century incorporated stories in their paintings. This style was portrayed with attention on all details of the picture. The main subject of the painting was regularly out of sight, aside, or in any case marginally darkened.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: In St. Mark Preaching in Alexandria, how is the Gentile Bellini of the Attribution explained?

Gentile Bellini (1429–1507) was born in Venice and was very well known during his time; he was the son of a wealthy artist, Jacobo Bellini, and the older brother of Giovanni Bellini. Gentile was an equipped and fastidious painter and ran the Bellini family workshop, yet he was eclipsed by his more skilled and imaginative sibling Giovanni. He was a Venetian painter particularly known for representations and compositions of the public buildings. Gentile was one of the first to begin the use of oil painting and of the canvas. Venetian painters in the fifteenth-century incorporated stories in their paintings. This style was portrayed with attention on all details of the picture. The main subject of the painting was regularly out of sight, aside, or in any case marginally darkened.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: Describe the characteristics of the Gentile Bellini in St. Mark Preaching in Alexandria's Attribution.

Gentile Bellini (1429–1507) was born in Venice and was very well known during his time; he was the son of a wealthy artist, Jacobo Bellini, and the older brother of Giovanni Bellini. Gentile was an equipped and fastidious painter and ran the Bellini family workshop, yet he was eclipsed by his more skilled and imaginative sibling Giovanni. He was a Venetian painter particularly known for representations and compositions of the public buildings. Gentile was one of the first to begin the use of oil painting and of the canvas. Venetian painters in the fifteenth-century incorporated stories in their paintings. This style was portrayed with attention on all details of the picture. The main subject of the painting was regularly out of sight, aside, or in any case marginally darkened.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: In the context of St. Mark Preaching in Alexandria, explain the Giovanni Bellini and the Attribution.

Giovanni Bellini (1431/36–1516) was born in Venice and was born into an important art family. As he worked in his father's workshop, he demonstrated potential by concentrating on small and medium-size reverential boards for private proprietorship. Bellini first connected and worked with his brother Gentile up until the point of his death. After 1479, he routinely worked for the doge's royal residence, where he was charged to paint scenes of Venetian history. After his older brother Gentile's demise in 1507, he finished St. Mark Preaching in Alexandria, which Giovanni had started painting.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: Explain the Giovanni Bellini about the Attribution of this artwork, St. Mark Preaching in Alexandria.

Giovanni Bellini (1431/36–1516) was born in Venice and was born into an important art family. As he worked in his father's workshop, he demonstrated potential by concentrating on small and medium-size reverential boards for private proprietorship. Bellini first connected and worked with his brother Gentile up until the point of his death. After 1479, he routinely worked for the doge's royal residence, where he was charged to paint scenes of Venetian history. After his older brother Gentile's demise in 1507, he finished St. Mark Preaching in Alexandria, which Giovanni had started painting.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: In St. Mark Preaching in Alexandria, how is the Giovanni Bellini of the Attribution explained?

Giovanni Bellini (1431/36–1516) was born in Venice and was born into an important art family. As he worked in his father's workshop, he demonstrated potential by concentrating on small and medium-size reverential boards for private proprietorship. Bellini first connected and worked with his brother Gentile up until the point of his death. After 1479, he routinely worked for the doge's royal residence, where he was charged to paint scenes of Venetian history. After his older brother Gentile's demise in 1507, he finished St. Mark Preaching in Alexandria, which Giovanni had started painting.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


St. Mark Preaching in Alexandria

Prompt: Describe the characteristics of the Giovanni Bellini in St. Mark Preaching in Alexandria's Attribution.

Giovanni Bellini (1431/36–1516) was born in Venice and was born into an important art family. As he worked in his father's workshop, he demonstrated potential by concentrating on small and medium-size reverential boards for private proprietorship. Bellini first connected and worked with his brother Gentile up until the point of his death. After 1479, he routinely worked for the doge's royal residence, where he was charged to paint scenes of Venetian history. After his older brother Gentile's demise in 1507, he finished St. Mark Preaching in Alexandria, which Giovanni had started painting.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of Mark the Evangelist

Lives of the Most Excellent Painters, Sculptors, and Architects


Fujishima Takeji

Prompt: Focus on Fujishima Takeji and explain the abstract.

Fujishima Takeji (藤島 武二, October 15, 1867 – March 19, 1943) was a Japanese painter, noted for his work in developing Romanticism and impressionism within the yōga (Western-style) art movement in late 19th- and early 20th-century Japanese painting. In his later years, he was influenced by the Art Nouveau movement.

Category:Artists from Kagoshima Prefecture

École nationale supérieure des Beaux-Arts

Category:Recipients of the Order of Culture


Fujishima Takeji

Prompt: Explain the abstract of this artwork, Fujishima Takeji.

Fujishima Takeji (藤島 武二, October 15, 1867 – March 19, 1943) was a Japanese painter, noted for his work in developing Romanticism and impressionism within the yōga (Western-style) art movement in late 19th- and early 20th-century Japanese painting. In his later years, he was influenced by the Art Nouveau movement.

Category:Artists from Kagoshima Prefecture

École nationale supérieure des Beaux-Arts

Category:Recipients of the Order of Culture


Fujishima Takeji

Prompt: How does Fujishima Takeji explain its abstract?

Fujishima Takeji (藤島 武二, October 15, 1867 – March 19, 1943) was a Japanese painter, noted for his work in developing Romanticism and impressionism within the yōga (Western-style) art movement in late 19th- and early 20th-century Japanese painting. In his later years, he was influenced by the Art Nouveau movement.

Category:Artists from Kagoshima Prefecture

École nationale supérieure des Beaux-Arts

Category:Recipients of the Order of Culture


Fujishima Takeji

Prompt: In Fujishima Takeji, how is the abstract discussed?

Fujishima Takeji (藤島 武二, October 15, 1867 – March 19, 1943) was a Japanese painter, noted for his work in developing Romanticism and impressionism within the yōga (Western-style) art movement in late 19th- and early 20th-century Japanese painting. In his later years, he was influenced by the Art Nouveau movement.

Category:Artists from Kagoshima Prefecture

École nationale supérieure des Beaux-Arts

Category:Recipients of the Order of Culture


Fujishima Takeji

Prompt: Focus on Fujishima Takeji and explain the Biography.

Fujishima was born to an ex-samurai class household in Kagoshima, Satsuma Domain in southern Kyūshū, Japan, where his father had been a retainer of the Shimazu clan daimyō. After studying art at Kagoshima Middle School he left home in 1884 to pursue his studies in Tokyo, first with Kawabata Gyokusho, a Shijō school nihonga artist. However, Fujishima was attracted to the new western-style oil painting techniques, and switched to yōga-style painting, which he learned under Yamamoto Hōsui and Soyama Yukihiro. His graduation piece, “Cruelty” was exhibited at the 3rd Meiji Art Association Exhibition in 1891, where it was viewed by noted novelist and art critic Mori Ōgai.Fujishima moved to Tsu in Mie Prefecture in 1893, where he was an assistant teacher at the Mie Prefectural Elementary School, but soon returned to Tokyo in 1896 under the sponsorship of Kuroda Seiki to become an assistant professor at the Tokyo Art School's Western Painting Department. He also joined Kuroda's art coterie, the Hakubakai (White Horse Society).Travelling to France in 1905, Fujishima studied the techniques of historical painting under Fernand Cormon at the École nationale supérieure des Beaux-Arts in Paris, and portraiture under Carolus-Duran at the French Academy in Rome in Italy. He returned to Japan in 1910 and became a professor at the Tokyo Art School and a member of the Imperial Art Academy. In 1937, he was one of the first recipients of the newly created Order of Culture of  the Japanese government.Fujishima died in 1943; his grave is at the Aoyama Cemetery, in Tokyo.

Category:Artists from Kagoshima Prefecture

Category:Recipients of the Order of Culture


Fujishima Takeji

Prompt: Explain the Biography of this artwork, Fujishima Takeji.

Fujishima was born to an ex-samurai class household in Kagoshima, Satsuma Domain in southern Kyūshū, Japan, where his father had been a retainer of the Shimazu clan daimyō. After studying art at Kagoshima Middle School he left home in 1884 to pursue his studies in Tokyo, first with Kawabata Gyokusho, a Shijō school nihonga artist. However, Fujishima was attracted to the new western-style oil painting techniques, and switched to yōga-style painting, which he learned under Yamamoto Hōsui and Soyama Yukihiro. His graduation piece, “Cruelty” was exhibited at the 3rd Meiji Art Association Exhibition in 1891, where it was viewed by noted novelist and art critic Mori Ōgai.Fujishima moved to Tsu in Mie Prefecture in 1893, where he was an assistant teacher at the Mie Prefectural Elementary School, but soon returned to Tokyo in 1896 under the sponsorship of Kuroda Seiki to become an assistant professor at the Tokyo Art School's Western Painting Department. He also joined Kuroda's art coterie, the Hakubakai (White Horse Society).Travelling to France in 1905, Fujishima studied the techniques of historical painting under Fernand Cormon at the École nationale supérieure des Beaux-Arts in Paris, and portraiture under Carolus-Duran at the French Academy in Rome in Italy. He returned to Japan in 1910 and became a professor at the Tokyo Art School and a member of the Imperial Art Academy. In 1937, he was one of the first recipients of the newly created Order of Culture of  the Japanese government.Fujishima died in 1943; his grave is at the Aoyama Cemetery, in Tokyo.

Category:Artists from Kagoshima Prefecture

Category:Recipients of the Order of Culture


Fujishima Takeji

Prompt: How does Fujishima Takeji explain its Biography?

Fujishima was born to an ex-samurai class household in Kagoshima, Satsuma Domain in southern Kyūshū, Japan, where his father had been a retainer of the Shimazu clan daimyō. After studying art at Kagoshima Middle School he left home in 1884 to pursue his studies in Tokyo, first with Kawabata Gyokusho, a Shijō school nihonga artist. However, Fujishima was attracted to the new western-style oil painting techniques, and switched to yōga-style painting, which he learned under Yamamoto Hōsui and Soyama Yukihiro. His graduation piece, “Cruelty” was exhibited at the 3rd Meiji Art Association Exhibition in 1891, where it was viewed by noted novelist and art critic Mori Ōgai.Fujishima moved to Tsu in Mie Prefecture in 1893, where he was an assistant teacher at the Mie Prefectural Elementary School, but soon returned to Tokyo in 1896 under the sponsorship of Kuroda Seiki to become an assistant professor at the Tokyo Art School's Western Painting Department. He also joined Kuroda's art coterie, the Hakubakai (White Horse Society).Travelling to France in 1905, Fujishima studied the techniques of historical painting under Fernand Cormon at the École nationale supérieure des Beaux-Arts in Paris, and portraiture under Carolus-Duran at the French Academy in Rome in Italy. He returned to Japan in 1910 and became a professor at the Tokyo Art School and a member of the Imperial Art Academy. In 1937, he was one of the first recipients of the newly created Order of Culture of  the Japanese government.Fujishima died in 1943; his grave is at the Aoyama Cemetery, in Tokyo.

Category:Artists from Kagoshima Prefecture

Category:Recipients of the Order of Culture


Fujishima Takeji

Prompt: In Fujishima Takeji, how is the Biography discussed?

Fujishima was born to an ex-samurai class household in Kagoshima, Satsuma Domain in southern Kyūshū, Japan, where his father had been a retainer of the Shimazu clan daimyō. After studying art at Kagoshima Middle School he left home in 1884 to pursue his studies in Tokyo, first with Kawabata Gyokusho, a Shijō school nihonga artist. However, Fujishima was attracted to the new western-style oil painting techniques, and switched to yōga-style painting, which he learned under Yamamoto Hōsui and Soyama Yukihiro. His graduation piece, “Cruelty” was exhibited at the 3rd Meiji Art Association Exhibition in 1891, where it was viewed by noted novelist and art critic Mori Ōgai.Fujishima moved to Tsu in Mie Prefecture in 1893, where he was an assistant teacher at the Mie Prefectural Elementary School, but soon returned to Tokyo in 1896 under the sponsorship of Kuroda Seiki to become an assistant professor at the Tokyo Art School's Western Painting Department. He also joined Kuroda's art coterie, the Hakubakai (White Horse Society).Travelling to France in 1905, Fujishima studied the techniques of historical painting under Fernand Cormon at the École nationale supérieure des Beaux-Arts in Paris, and portraiture under Carolus-Duran at the French Academy in Rome in Italy. He returned to Japan in 1910 and became a professor at the Tokyo Art School and a member of the Imperial Art Academy. In 1937, he was one of the first recipients of the newly created Order of Culture of  the Japanese government.Fujishima died in 1943; his grave is at the Aoyama Cemetery, in Tokyo.

Category:Artists from Kagoshima Prefecture

Category:Recipients of the Order of Culture


Fujishima Takeji

Prompt: Focus on Fujishima Takeji and explain the Noted works.

Butterfly (蝶, Chō), 1904, Private Collection, National Important Cultural PropertyBlack Fan (黒扇, Kuro ogi), 1909, Bridgestone Museum of ArtReminiscence of the Tempyo Era (天平の面影), 1902, Ishibashi Art Museum, [1] National Important Cultural PropertySunrise over the Eastern Sea, 1932

Category:Artists from Kagoshima Prefecture

École nationale supérieure des Beaux-Arts

Category:Recipients of the Order of Culture


Fujishima Takeji

Prompt: Explain the Noted works of this artwork, Fujishima Takeji.

Butterfly (蝶, Chō), 1904, Private Collection, National Important Cultural PropertyBlack Fan (黒扇, Kuro ogi), 1909, Bridgestone Museum of ArtReminiscence of the Tempyo Era (天平の面影), 1902, Ishibashi Art Museum, [1] National Important Cultural PropertySunrise over the Eastern Sea, 1932

Category:Artists from Kagoshima Prefecture

École nationale supérieure des Beaux-Arts

Category:Recipients of the Order of Culture


Fujishima Takeji

Prompt: How does Fujishima Takeji explain its Noted works?

Butterfly (蝶, Chō), 1904, Private Collection, National Important Cultural PropertyBlack Fan (黒扇, Kuro ogi), 1909, Bridgestone Museum of ArtReminiscence of the Tempyo Era (天平の面影), 1902, Ishibashi Art Museum, [1] National Important Cultural PropertySunrise over the Eastern Sea, 1932

Category:Artists from Kagoshima Prefecture

École nationale supérieure des Beaux-Arts

Category:Recipients of the Order of Culture


Fujishima Takeji

Prompt: In Fujishima Takeji, how is the Noted works discussed?

Butterfly (蝶, Chō), 1904, Private Collection, National Important Cultural PropertyBlack Fan (黒扇, Kuro ogi), 1909, Bridgestone Museum of ArtReminiscence of the Tempyo Era (天平の面影), 1902, Ishibashi Art Museum, [1] National Important Cultural PropertySunrise over the Eastern Sea, 1932

Category:Artists from Kagoshima Prefecture

École nationale supérieure des Beaux-Arts

Category:Recipients of the Order of Culture


La Loge

Prompt: Focus on La Loge and explain the abstract.

La Loge ('The Theatre Box') is an 1874 oil painting by Pierre-Auguste Renoir. It is part of the collection at the Courtauld Institute of Art in London.The painting depicts a young couple in a box at the Paris theatre. The woman was modelled by Nini Lopez, Renoir's new model who would feature in fourteen of his paintings over the next few years. The man was his brother Edmond, a journalist and art critic. Going to the theatre was as much about being seen as watching the performance and whilst the woman is making her presence obvious, her companion is scanning the audience through his opera-glasses.La Loge was included in the Salon in 1874, where reaction was mixed. It was subsequently shown in London in an exhibition organised by his dealer Paul Durand-Ruel, making it one of the earliest Impressionist paintings to be shown in England, but did not sell at either exhibition. It was bought the following year by the dealer ‘Père’ Martin for 425 francs.

List of paintings by Pierre-Auguste Renoir

Category:Paintings in the Courtauld Gallery

Category:Paintings by Pierre-Auguste Renoir


La Loge

Prompt: Explain the abstract of this artwork, La Loge.

La Loge ('The Theatre Box') is an 1874 oil painting by Pierre-Auguste Renoir. It is part of the collection at the Courtauld Institute of Art in London.The painting depicts a young couple in a box at the Paris theatre. The woman was modelled by Nini Lopez, Renoir's new model who would feature in fourteen of his paintings over the next few years. The man was his brother Edmond, a journalist and art critic. Going to the theatre was as much about being seen as watching the performance and whilst the woman is making her presence obvious, her companion is scanning the audience through his opera-glasses.La Loge was included in the Salon in 1874, where reaction was mixed. It was subsequently shown in London in an exhibition organised by his dealer Paul Durand-Ruel, making it one of the earliest Impressionist paintings to be shown in England, but did not sell at either exhibition. It was bought the following year by the dealer ‘Père’ Martin for 425 francs.

List of paintings by Pierre-Auguste Renoir

Category:Paintings in the Courtauld Gallery

Category:Paintings by Pierre-Auguste Renoir


La Loge

Prompt: How does La Loge explain its abstract?

La Loge ('The Theatre Box') is an 1874 oil painting by Pierre-Auguste Renoir. It is part of the collection at the Courtauld Institute of Art in London.The painting depicts a young couple in a box at the Paris theatre. The woman was modelled by Nini Lopez, Renoir's new model who would feature in fourteen of his paintings over the next few years. The man was his brother Edmond, a journalist and art critic. Going to the theatre was as much about being seen as watching the performance and whilst the woman is making her presence obvious, her companion is scanning the audience through his opera-glasses.La Loge was included in the Salon in 1874, where reaction was mixed. It was subsequently shown in London in an exhibition organised by his dealer Paul Durand-Ruel, making it one of the earliest Impressionist paintings to be shown in England, but did not sell at either exhibition. It was bought the following year by the dealer ‘Père’ Martin for 425 francs.

List of paintings by Pierre-Auguste Renoir

Category:Paintings in the Courtauld Gallery

Category:Paintings by Pierre-Auguste Renoir


La Loge

Prompt: In La Loge, how is the abstract discussed?

La Loge ('The Theatre Box') is an 1874 oil painting by Pierre-Auguste Renoir. It is part of the collection at the Courtauld Institute of Art in London.The painting depicts a young couple in a box at the Paris theatre. The woman was modelled by Nini Lopez, Renoir's new model who would feature in fourteen of his paintings over the next few years. The man was his brother Edmond, a journalist and art critic. Going to the theatre was as much about being seen as watching the performance and whilst the woman is making her presence obvious, her companion is scanning the audience through his opera-glasses.La Loge was included in the Salon in 1874, where reaction was mixed. It was subsequently shown in London in an exhibition organised by his dealer Paul Durand-Ruel, making it one of the earliest Impressionist paintings to be shown in England, but did not sell at either exhibition. It was bought the following year by the dealer ‘Père’ Martin for 425 francs.

List of paintings by Pierre-Auguste Renoir

Category:Paintings in the Courtauld Gallery

Category:Paintings by Pierre-Auguste Renoir


The Blacksmith's Shop

Prompt: Focus on The Blacksmith's Shop and explain the abstract.

The Blacksmith's Shop is a recurring theme of five paintings by Joseph Wright of Derby. The version in his hometown was originally completed in 1771.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


The Blacksmith's Shop

Prompt: Explain the abstract of this artwork, The Blacksmith's Shop.

The Blacksmith's Shop is a recurring theme of five paintings by Joseph Wright of Derby. The version in his hometown was originally completed in 1771.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


The Blacksmith's Shop

Prompt: How does The Blacksmith's Shop explain its abstract?

The Blacksmith's Shop is a recurring theme of five paintings by Joseph Wright of Derby. The version in his hometown was originally completed in 1771.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


The Blacksmith's Shop

Prompt: In The Blacksmith's Shop, how is the abstract discussed?

The Blacksmith's Shop is a recurring theme of five paintings by Joseph Wright of Derby. The version in his hometown was originally completed in 1771.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


The Blacksmith's Shop

Prompt: Focus on The Blacksmith's Shop and explain the Description.

Joseph Wright of Derby painted five paintings on the theme of a blacksmith's shop or a forge between the years 1771 and 1773. The Derby Museum version is of a blacksmith's shop where three men work to manufacture an iron or steel component. The presence of visitors and the nocturnal work is explained by the farrier working outside. Wright has imagined that a traveller has broken down on a journey and the farrier is therefore working by the light of a candle. This device allows Wright to show off his skill and interest in light and shadow. To the right of the picture is an idle man leaning on a stick. Nicholson notes that this person is not dealt with harshly but with respect. The man appears too old to work but offers gravitas to those that are.Investigations of one of Wright's blacksmith's paintings has revealed the lengths that Wright went to achieve his image. Beneath the image of the ingot and hidden by layers of both yellow and white investigators found a small piece of gold leaf that Wright had placed there two centuries before. The gold is not thought to have added to the painting, but Wright obviously thought it might in some way.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


The Blacksmith's Shop

Prompt: Explain the Description of this artwork, The Blacksmith's Shop.

Joseph Wright of Derby painted five paintings on the theme of a blacksmith's shop or a forge between the years 1771 and 1773. The Derby Museum version is of a blacksmith's shop where three men work to manufacture an iron or steel component. The presence of visitors and the nocturnal work is explained by the farrier working outside. Wright has imagined that a traveller has broken down on a journey and the farrier is therefore working by the light of a candle. This device allows Wright to show off his skill and interest in light and shadow. To the right of the picture is an idle man leaning on a stick. Nicholson notes that this person is not dealt with harshly but with respect. The man appears too old to work but offers gravitas to those that are.Investigations of one of Wright's blacksmith's paintings has revealed the lengths that Wright went to achieve his image. Beneath the image of the ingot and hidden by layers of both yellow and white investigators found a small piece of gold leaf that Wright had placed there two centuries before. The gold is not thought to have added to the painting, but Wright obviously thought it might in some way.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


The Blacksmith's Shop

Prompt: How does The Blacksmith's Shop explain its Description?

Joseph Wright of Derby painted five paintings on the theme of a blacksmith's shop or a forge between the years 1771 and 1773. The Derby Museum version is of a blacksmith's shop where three men work to manufacture an iron or steel component. The presence of visitors and the nocturnal work is explained by the farrier working outside. Wright has imagined that a traveller has broken down on a journey and the farrier is therefore working by the light of a candle. This device allows Wright to show off his skill and interest in light and shadow. To the right of the picture is an idle man leaning on a stick. Nicholson notes that this person is not dealt with harshly but with respect. The man appears too old to work but offers gravitas to those that are.Investigations of one of Wright's blacksmith's paintings has revealed the lengths that Wright went to achieve his image. Beneath the image of the ingot and hidden by layers of both yellow and white investigators found a small piece of gold leaf that Wright had placed there two centuries before. The gold is not thought to have added to the painting, but Wright obviously thought it might in some way.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


The Blacksmith's Shop

Prompt: In The Blacksmith's Shop, how is the Description discussed?

Joseph Wright of Derby painted five paintings on the theme of a blacksmith's shop or a forge between the years 1771 and 1773. The Derby Museum version is of a blacksmith's shop where three men work to manufacture an iron or steel component. The presence of visitors and the nocturnal work is explained by the farrier working outside. Wright has imagined that a traveller has broken down on a journey and the farrier is therefore working by the light of a candle. This device allows Wright to show off his skill and interest in light and shadow. To the right of the picture is an idle man leaning on a stick. Nicholson notes that this person is not dealt with harshly but with respect. The man appears too old to work but offers gravitas to those that are.Investigations of one of Wright's blacksmith's paintings has revealed the lengths that Wright went to achieve his image. Beneath the image of the ingot and hidden by layers of both yellow and white investigators found a small piece of gold leaf that Wright had placed there two centuries before. The gold is not thought to have added to the painting, but Wright obviously thought it might in some way.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


The Blacksmith's Shop

Prompt: Focus on The Blacksmith's Shop and explain the Other Versions.

Later versions which involve a forge rather than a blacksmith's more traditional way of working are now in the Hermitage Museum in St Petersburg and in The Tate in London. In these the main figure is working with a power forge whilst he is observed by his family. The nocturnal nature of Wright's "night pieces" was different to his contemporaries. The real novelty was however in the subject matter. Water-powered forges were not new, but Wright was being innovative in proposing that these scenes could be the subject of a fine artist. For this reason Wrights paintings are frequently used as a symbol of the Industrial Revolution and The Enlightenment. Wright was an important figure in relation to the Lunar Society and Derby Philosophical Society whose members were shaping the development of Science and Engineering in England.In 1772, Wright created a 44 by 52-inch variation on this theme called The Iron Forge which was sold to Lord Palmerston for 200 pounds. This version is still in the Palmerstone family. Another 41 by 55-inch version titled An Iron Forge viewed from without was sold to Empress Catherine of Russia. Catherine the great later bought two other Wright paintings; one was of fireworks and another was from his Vesuvius paintings, however the painting of the forge was considered the best of the three.Another 1771 version was titled The Blacksmith's Shop and this sold to Peniston Lamb, 1st Viscount Melbourne. It remained in the Melbourne family until it was purchased and given to Down House where it joined the collection in memory of Charles Darwin. This version is now in the Mellon collection.An Iron Forge develops the idea of blacksmith's shop which is a craft that has changed little on hundreds of years. Forges seen in the 1772 pension show the addition of water-powered hammers that allow the forger to stand proud before his family. The painting is in the Tate. A similar painting of a forge but viewed from outside is in the Hermitage Museum.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


The Blacksmith's Shop

Prompt: Explain the Other Versions of this artwork, The Blacksmith's Shop.

Later versions which involve a forge rather than a blacksmith's more traditional way of working are now in the Hermitage Museum in St Petersburg and in The Tate in London. In these the main figure is working with a power forge whilst he is observed by his family. The nocturnal nature of Wright's "night pieces" was different to his contemporaries. The real novelty was however in the subject matter. Water-powered forges were not new, but Wright was being innovative in proposing that these scenes could be the subject of a fine artist. For this reason Wrights paintings are frequently used as a symbol of the Industrial Revolution and The Enlightenment. Wright was an important figure in relation to the Lunar Society and Derby Philosophical Society whose members were shaping the development of Science and Engineering in England.In 1772, Wright created a 44 by 52-inch variation on this theme called The Iron Forge which was sold to Lord Palmerston for 200 pounds. This version is still in the Palmerstone family. Another 41 by 55-inch version titled An Iron Forge viewed from without was sold to Empress Catherine of Russia. Catherine the great later bought two other Wright paintings; one was of fireworks and another was from his Vesuvius paintings, however the painting of the forge was considered the best of the three.Another 1771 version was titled The Blacksmith's Shop and this sold to Peniston Lamb, 1st Viscount Melbourne. It remained in the Melbourne family until it was purchased and given to Down House where it joined the collection in memory of Charles Darwin. This version is now in the Mellon collection.An Iron Forge develops the idea of blacksmith's shop which is a craft that has changed little on hundreds of years. Forges seen in the 1772 pension show the addition of water-powered hammers that allow the forger to stand proud before his family. The painting is in the Tate. A similar painting of a forge but viewed from outside is in the Hermitage Museum.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


The Blacksmith's Shop

Prompt: How does The Blacksmith's Shop explain its Other Versions?

Later versions which involve a forge rather than a blacksmith's more traditional way of working are now in the Hermitage Museum in St Petersburg and in The Tate in London. In these the main figure is working with a power forge whilst he is observed by his family. The nocturnal nature of Wright's "night pieces" was different to his contemporaries. The real novelty was however in the subject matter. Water-powered forges were not new, but Wright was being innovative in proposing that these scenes could be the subject of a fine artist. For this reason Wrights paintings are frequently used as a symbol of the Industrial Revolution and The Enlightenment. Wright was an important figure in relation to the Lunar Society and Derby Philosophical Society whose members were shaping the development of Science and Engineering in England.In 1772, Wright created a 44 by 52-inch variation on this theme called The Iron Forge which was sold to Lord Palmerston for 200 pounds. This version is still in the Palmerstone family. Another 41 by 55-inch version titled An Iron Forge viewed from without was sold to Empress Catherine of Russia. Catherine the great later bought two other Wright paintings; one was of fireworks and another was from his Vesuvius paintings, however the painting of the forge was considered the best of the three.Another 1771 version was titled The Blacksmith's Shop and this sold to Peniston Lamb, 1st Viscount Melbourne. It remained in the Melbourne family until it was purchased and given to Down House where it joined the collection in memory of Charles Darwin. This version is now in the Mellon collection.An Iron Forge develops the idea of blacksmith's shop which is a craft that has changed little on hundreds of years. Forges seen in the 1772 pension show the addition of water-powered hammers that allow the forger to stand proud before his family. The painting is in the Tate. A similar painting of a forge but viewed from outside is in the Hermitage Museum.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


The Blacksmith's Shop

Prompt: In The Blacksmith's Shop, how is the Other Versions discussed?

Later versions which involve a forge rather than a blacksmith's more traditional way of working are now in the Hermitage Museum in St Petersburg and in The Tate in London. In these the main figure is working with a power forge whilst he is observed by his family. The nocturnal nature of Wright's "night pieces" was different to his contemporaries. The real novelty was however in the subject matter. Water-powered forges were not new, but Wright was being innovative in proposing that these scenes could be the subject of a fine artist. For this reason Wrights paintings are frequently used as a symbol of the Industrial Revolution and The Enlightenment. Wright was an important figure in relation to the Lunar Society and Derby Philosophical Society whose members were shaping the development of Science and Engineering in England.In 1772, Wright created a 44 by 52-inch variation on this theme called The Iron Forge which was sold to Lord Palmerston for 200 pounds. This version is still in the Palmerstone family. Another 41 by 55-inch version titled An Iron Forge viewed from without was sold to Empress Catherine of Russia. Catherine the great later bought two other Wright paintings; one was of fireworks and another was from his Vesuvius paintings, however the painting of the forge was considered the best of the three.Another 1771 version was titled The Blacksmith's Shop and this sold to Peniston Lamb, 1st Viscount Melbourne. It remained in the Melbourne family until it was purchased and given to Down House where it joined the collection in memory of Charles Darwin. This version is now in the Mellon collection.An Iron Forge develops the idea of blacksmith's shop which is a craft that has changed little on hundreds of years. Forges seen in the 1772 pension show the addition of water-powered hammers that allow the forger to stand proud before his family. The painting is in the Tate. A similar painting of a forge but viewed from outside is in the Hermitage Museum.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


The Blacksmith's Shop

Prompt: Focus on The Blacksmith's Shop and explain the Provenance.

The 1771 painting was bought by the ArtFund and Derby Museum and Art Gallery in 1979 for approximately 69,000 pounds from the Greg family who had owned it since 1875.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


The Blacksmith's Shop

Prompt: Explain the Provenance of this artwork, The Blacksmith's Shop.

The 1771 painting was bought by the ArtFund and Derby Museum and Art Gallery in 1979 for approximately 69,000 pounds from the Greg family who had owned it since 1875.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


The Blacksmith's Shop

Prompt: How does The Blacksmith's Shop explain its Provenance?

The 1771 painting was bought by the ArtFund and Derby Museum and Art Gallery in 1979 for approximately 69,000 pounds from the Greg family who had owned it since 1875.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


The Blacksmith's Shop

Prompt: In The Blacksmith's Shop, how is the Provenance discussed?

The 1771 painting was bought by the ArtFund and Derby Museum and Art Gallery in 1979 for approximately 69,000 pounds from the Greg family who had owned it since 1875.

Category:Collection of Derby Museum and Art Gallery

Henry John Temple, 3rd Viscount Palmerston

Category:Paintings by Joseph Wright of Derby


Prompt: Focus on Portrait of Alof de Wignacourt and his Page and explain the abstract.

Portrait of Alof de Wignacourt with his Page (c. 1607-1608) is a painting by the Italian master Caravaggio, in the Louvre of Paris.Alof de Wignacourt joined the Order of the Knights of Saint John (the Knights of Malta) in 1564, aged seventeen, and distinguished himself the next year at the Great Siege of Malta, when the Turks were defeated and never returned to the island. He was elected Grand Master in 1601, determined to enhance the prestige of the Order and its new post-siege capital, Valletta. It was not surprising, therefore, that he would welcome the opportunity to have at his court the most famous painter in Rome and Naples, Michelangelo da Caravaggio.Caravaggio arrived in Malta from Naples in July 1607 and according to his early biographers Giovanni Baglione and Giovanni Bellori, he began at once with portraits of Wignacourt and other knights from the highest ranks of the Order. This famous portrait shows the Grand Master in formal armour, holding his baton of command, every gleaming inch an image of the military might of the Knights. At the time Wignacourt was about sixty years old. He had strengthened the fortifications of the island, built an aqueduct to guarantee water to the city, and launched several attacks on the Turks. He had turned the Knights into a sovereign power, making himself in effect a prince answerable to no-one except the Pope, with his own increasingly wealthy court.One of his innovations had been to surround to himself with young pages, in imitation of the fashion of the princely courts. The pages were taken from the most noble Catholic families of Europe. According to John Gash and others the page in the portrait is probably Nicholas de Paris Boissy, a French aristocrat destined for a distinguished career – he became Grand Prior of France in 1657. He is placed a little awkwardly within the composition: his feet are aligned with the feet of de Wignacourt, as if standing beside de Wignacourt, but his hand and the helmet overlap Wignacourt's elbow, giving the impression that from the waist up he is in front of the knight. The fact can be explained by Caravaggio's practice of painting separately from live models – de Wignacourt and the page were apparently not together in the studio at the same time.The boy's lively expression and alert gaze make him an attractive subject in his own right, to the extent that he was several times copied by later artists visiting Malta.  Wignacourt, encased in splendid black and gold Milanese armour, stares upwards and outwards out of the frame in a dignified manner that invites the viewer to gaze upon him in awe, leaving the page, with his look of boyish interest, as the sole thoroughly human presence, and a far more sympathetic one than the self-conscious man of steel. The double-portrait with the pageboy was an unusual combination for the time. It may have been ordered by Wignacourt to stress the dignity of his court, or Caravaggio may have been inspired by a painting by Titian that he could have seen in his youth in Milan, Alfonso d'Avalos Addressing his Troops, showing the Spanish governor of the city addressing his knights with a page beside him holding his helmet.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Prompt: Explain the abstract of this artwork, Portrait of Alof de Wignacourt and his Page.

Portrait of Alof de Wignacourt with his Page (c. 1607-1608) is a painting by the Italian master Caravaggio, in the Louvre of Paris.Alof de Wignacourt joined the Order of the Knights of Saint John (the Knights of Malta) in 1564, aged seventeen, and distinguished himself the next year at the Great Siege of Malta, when the Turks were defeated and never returned to the island. He was elected Grand Master in 1601, determined to enhance the prestige of the Order and its new post-siege capital, Valletta. It was not surprising, therefore, that he would welcome the opportunity to have at his court the most famous painter in Rome and Naples, Michelangelo da Caravaggio.Caravaggio arrived in Malta from Naples in July 1607 and according to his early biographers Giovanni Baglione and Giovanni Bellori, he began at once with portraits of Wignacourt and other knights from the highest ranks of the Order. This famous portrait shows the Grand Master in formal armour, holding his baton of command, every gleaming inch an image of the military might of the Knights. At the time Wignacourt was about sixty years old. He had strengthened the fortifications of the island, built an aqueduct to guarantee water to the city, and launched several attacks on the Turks. He had turned the Knights into a sovereign power, making himself in effect a prince answerable to no-one except the Pope, with his own increasingly wealthy court.One of his innovations had been to surround to himself with young pages, in imitation of the fashion of the princely courts. The pages were taken from the most noble Catholic families of Europe. According to John Gash and others the page in the portrait is probably Nicholas de Paris Boissy, a French aristocrat destined for a distinguished career – he became Grand Prior of France in 1657. He is placed a little awkwardly within the composition: his feet are aligned with the feet of de Wignacourt, as if standing beside de Wignacourt, but his hand and the helmet overlap Wignacourt's elbow, giving the impression that from the waist up he is in front of the knight. The fact can be explained by Caravaggio's practice of painting separately from live models – de Wignacourt and the page were apparently not together in the studio at the same time.The boy's lively expression and alert gaze make him an attractive subject in his own right, to the extent that he was several times copied by later artists visiting Malta.  Wignacourt, encased in splendid black and gold Milanese armour, stares upwards and outwards out of the frame in a dignified manner that invites the viewer to gaze upon him in awe, leaving the page, with his look of boyish interest, as the sole thoroughly human presence, and a far more sympathetic one than the self-conscious man of steel. The double-portrait with the pageboy was an unusual combination for the time. It may have been ordered by Wignacourt to stress the dignity of his court, or Caravaggio may have been inspired by a painting by Titian that he could have seen in his youth in Milan, Alfonso d'Avalos Addressing his Troops, showing the Spanish governor of the city addressing his knights with a page beside him holding his helmet.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Prompt: How does Portrait of Alof de Wignacourt and his Page explain its abstract?

Portrait of Alof de Wignacourt with his Page (c. 1607-1608) is a painting by the Italian master Caravaggio, in the Louvre of Paris.Alof de Wignacourt joined the Order of the Knights of Saint John (the Knights of Malta) in 1564, aged seventeen, and distinguished himself the next year at the Great Siege of Malta, when the Turks were defeated and never returned to the island. He was elected Grand Master in 1601, determined to enhance the prestige of the Order and its new post-siege capital, Valletta. It was not surprising, therefore, that he would welcome the opportunity to have at his court the most famous painter in Rome and Naples, Michelangelo da Caravaggio.Caravaggio arrived in Malta from Naples in July 1607 and according to his early biographers Giovanni Baglione and Giovanni Bellori, he began at once with portraits of Wignacourt and other knights from the highest ranks of the Order. This famous portrait shows the Grand Master in formal armour, holding his baton of command, every gleaming inch an image of the military might of the Knights. At the time Wignacourt was about sixty years old. He had strengthened the fortifications of the island, built an aqueduct to guarantee water to the city, and launched several attacks on the Turks. He had turned the Knights into a sovereign power, making himself in effect a prince answerable to no-one except the Pope, with his own increasingly wealthy court.One of his innovations had been to surround to himself with young pages, in imitation of the fashion of the princely courts. The pages were taken from the most noble Catholic families of Europe. According to John Gash and others the page in the portrait is probably Nicholas de Paris Boissy, a French aristocrat destined for a distinguished career – he became Grand Prior of France in 1657. He is placed a little awkwardly within the composition: his feet are aligned with the feet of de Wignacourt, as if standing beside de Wignacourt, but his hand and the helmet overlap Wignacourt's elbow, giving the impression that from the waist up he is in front of the knight. The fact can be explained by Caravaggio's practice of painting separately from live models – de Wignacourt and the page were apparently not together in the studio at the same time.The boy's lively expression and alert gaze make him an attractive subject in his own right, to the extent that he was several times copied by later artists visiting Malta.  Wignacourt, encased in splendid black and gold Milanese armour, stares upwards and outwards out of the frame in a dignified manner that invites the viewer to gaze upon him in awe, leaving the page, with his look of boyish interest, as the sole thoroughly human presence, and a far more sympathetic one than the self-conscious man of steel. The double-portrait with the pageboy was an unusual combination for the time. It may have been ordered by Wignacourt to stress the dignity of his court, or Caravaggio may have been inspired by a painting by Titian that he could have seen in his youth in Milan, Alfonso d'Avalos Addressing his Troops, showing the Spanish governor of the city addressing his knights with a page beside him holding his helmet.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Prompt: In Portrait of Alof de Wignacourt and his Page, how is the abstract discussed?

Portrait of Alof de Wignacourt with his Page (c. 1607-1608) is a painting by the Italian master Caravaggio, in the Louvre of Paris.Alof de Wignacourt joined the Order of the Knights of Saint John (the Knights of Malta) in 1564, aged seventeen, and distinguished himself the next year at the Great Siege of Malta, when the Turks were defeated and never returned to the island. He was elected Grand Master in 1601, determined to enhance the prestige of the Order and its new post-siege capital, Valletta. It was not surprising, therefore, that he would welcome the opportunity to have at his court the most famous painter in Rome and Naples, Michelangelo da Caravaggio.Caravaggio arrived in Malta from Naples in July 1607 and according to his early biographers Giovanni Baglione and Giovanni Bellori, he began at once with portraits of Wignacourt and other knights from the highest ranks of the Order. This famous portrait shows the Grand Master in formal armour, holding his baton of command, every gleaming inch an image of the military might of the Knights. At the time Wignacourt was about sixty years old. He had strengthened the fortifications of the island, built an aqueduct to guarantee water to the city, and launched several attacks on the Turks. He had turned the Knights into a sovereign power, making himself in effect a prince answerable to no-one except the Pope, with his own increasingly wealthy court.One of his innovations had been to surround to himself with young pages, in imitation of the fashion of the princely courts. The pages were taken from the most noble Catholic families of Europe. According to John Gash and others the page in the portrait is probably Nicholas de Paris Boissy, a French aristocrat destined for a distinguished career – he became Grand Prior of France in 1657. He is placed a little awkwardly within the composition: his feet are aligned with the feet of de Wignacourt, as if standing beside de Wignacourt, but his hand and the helmet overlap Wignacourt's elbow, giving the impression that from the waist up he is in front of the knight. The fact can be explained by Caravaggio's practice of painting separately from live models – de Wignacourt and the page were apparently not together in the studio at the same time.The boy's lively expression and alert gaze make him an attractive subject in his own right, to the extent that he was several times copied by later artists visiting Malta.  Wignacourt, encased in splendid black and gold Milanese armour, stares upwards and outwards out of the frame in a dignified manner that invites the viewer to gaze upon him in awe, leaving the page, with his look of boyish interest, as the sole thoroughly human presence, and a far more sympathetic one than the self-conscious man of steel. The double-portrait with the pageboy was an unusual combination for the time. It may have been ordered by Wignacourt to stress the dignity of his court, or Caravaggio may have been inspired by a painting by Titian that he could have seen in his youth in Milan, Alfonso d'Avalos Addressing his Troops, showing the Spanish governor of the city addressing his knights with a page beside him holding his helmet.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Hokusai Manga

Prompt: Focus on Hokusai Manga and explain the abstract.

The Hokusai Manga (北斎漫画, "Hokusai's Sketches") is a collection of sketches of various subjects by the Japanese artist Hokusai. Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural.The word manga in the title does not refer to the contemporary story-telling manga, as the sketches in the work are not connected to each other. While manga has come to mean "comics" in modern Japanese, the word was used in the Edo period to mean informal drawings, possibly preparatory sketches for paintings.Block-printed in three colours (black, gray and pale flesh), the Hokusai Manga comprises thousands of images in ten volumes from 1814 to 1819, with five volumes added in 1834 to 1878. The first volume was published in 1814, when the artist was 55.The final three volumes were published posthumously, two of them assembled by their publisher from previously unpublished material. The final volume was made up of previously published works, some not even by Hokusai, and is not considered authentic by art historians.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden


Hokusai Manga

Prompt: Explain the abstract of this artwork, Hokusai Manga.

The Hokusai Manga (北斎漫画, "Hokusai's Sketches") is a collection of sketches of various subjects by the Japanese artist Hokusai. Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural.The word manga in the title does not refer to the contemporary story-telling manga, as the sketches in the work are not connected to each other. While manga has come to mean "comics" in modern Japanese, the word was used in the Edo period to mean informal drawings, possibly preparatory sketches for paintings.Block-printed in three colours (black, gray and pale flesh), the Hokusai Manga comprises thousands of images in ten volumes from 1814 to 1819, with five volumes added in 1834 to 1878. The first volume was published in 1814, when the artist was 55.The final three volumes were published posthumously, two of them assembled by their publisher from previously unpublished material. The final volume was made up of previously published works, some not even by Hokusai, and is not considered authentic by art historians.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden


Hokusai Manga

Prompt: How does Hokusai Manga explain its abstract?

The Hokusai Manga (北斎漫画, "Hokusai's Sketches") is a collection of sketches of various subjects by the Japanese artist Hokusai. Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural.The word manga in the title does not refer to the contemporary story-telling manga, as the sketches in the work are not connected to each other. While manga has come to mean "comics" in modern Japanese, the word was used in the Edo period to mean informal drawings, possibly preparatory sketches for paintings.Block-printed in three colours (black, gray and pale flesh), the Hokusai Manga comprises thousands of images in ten volumes from 1814 to 1819, with five volumes added in 1834 to 1878. The first volume was published in 1814, when the artist was 55.The final three volumes were published posthumously, two of them assembled by their publisher from previously unpublished material. The final volume was made up of previously published works, some not even by Hokusai, and is not considered authentic by art historians.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden


Hokusai Manga

Prompt: In Hokusai Manga, how is the abstract discussed?

The Hokusai Manga (北斎漫画, "Hokusai's Sketches") is a collection of sketches of various subjects by the Japanese artist Hokusai. Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural.The word manga in the title does not refer to the contemporary story-telling manga, as the sketches in the work are not connected to each other. While manga has come to mean "comics" in modern Japanese, the word was used in the Edo period to mean informal drawings, possibly preparatory sketches for paintings.Block-printed in three colours (black, gray and pale flesh), the Hokusai Manga comprises thousands of images in ten volumes from 1814 to 1819, with five volumes added in 1834 to 1878. The first volume was published in 1814, when the artist was 55.The final three volumes were published posthumously, two of them assembled by their publisher from previously unpublished material. The final volume was made up of previously published works, some not even by Hokusai, and is not considered authentic by art historians.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden


Hokusai Manga

Prompt: Focus on Hokusai Manga and explain the Publication history.

The preface to the first volume of the work, written by Hanshū Sanjin (半洲散人), a minor artist of Nagoya, suggests that the publication of the work may have been aided by Hokusai's pupils. Part of the preface reads:This autumn the master [Hokusai] happened to visit the Western Province and stopped over at our city [Nagoya]. We all met together with the painter Gekkōtei Bokusen (月光亭墨僊) [Utamasa II, well-known Nagoya artist, pupil of Hokusai’s, and collator of Hokusai’s later work] at the latter’s residence, it being a very joyous occasion. And there over three hundred sketches of all kinds were made – from immortals, Buddhas, scholars, and women on down to birds, beasts, grasses, and trees, the spirit of each captured fully by the brush.The final volume is considered spurious by some art historians.The initial publication is usually credited to Eirakuya Toshiro (永楽屋東四郎) of Nagoya whose publishing house was renamed to Eito Shoten in 1914.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden


Hokusai Manga

Prompt: Explain the Publication history of this artwork, Hokusai Manga.

The preface to the first volume of the work, written by Hanshū Sanjin (半洲散人), a minor artist of Nagoya, suggests that the publication of the work may have been aided by Hokusai's pupils. Part of the preface reads:This autumn the master [Hokusai] happened to visit the Western Province and stopped over at our city [Nagoya]. We all met together with the painter Gekkōtei Bokusen (月光亭墨僊) [Utamasa II, well-known Nagoya artist, pupil of Hokusai’s, and collator of Hokusai’s later work] at the latter’s residence, it being a very joyous occasion. And there over three hundred sketches of all kinds were made – from immortals, Buddhas, scholars, and women on down to birds, beasts, grasses, and trees, the spirit of each captured fully by the brush.The final volume is considered spurious by some art historians.The initial publication is usually credited to Eirakuya Toshiro (永楽屋東四郎) of Nagoya whose publishing house was renamed to Eito Shoten in 1914.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden


Hokusai Manga

Prompt: How does Hokusai Manga explain its Publication history?

The preface to the first volume of the work, written by Hanshū Sanjin (半洲散人), a minor artist of Nagoya, suggests that the publication of the work may have been aided by Hokusai's pupils. Part of the preface reads:This autumn the master [Hokusai] happened to visit the Western Province and stopped over at our city [Nagoya]. We all met together with the painter Gekkōtei Bokusen (月光亭墨僊) [Utamasa II, well-known Nagoya artist, pupil of Hokusai’s, and collator of Hokusai’s later work] at the latter’s residence, it being a very joyous occasion. And there over three hundred sketches of all kinds were made – from immortals, Buddhas, scholars, and women on down to birds, beasts, grasses, and trees, the spirit of each captured fully by the brush.The final volume is considered spurious by some art historians.The initial publication is usually credited to Eirakuya Toshiro (永楽屋東四郎) of Nagoya whose publishing house was renamed to Eito Shoten in 1914.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden


Hokusai Manga

Prompt: In Hokusai Manga, how is the Publication history discussed?

The preface to the first volume of the work, written by Hanshū Sanjin (半洲散人), a minor artist of Nagoya, suggests that the publication of the work may have been aided by Hokusai's pupils. Part of the preface reads:This autumn the master [Hokusai] happened to visit the Western Province and stopped over at our city [Nagoya]. We all met together with the painter Gekkōtei Bokusen (月光亭墨僊) [Utamasa II, well-known Nagoya artist, pupil of Hokusai’s, and collator of Hokusai’s later work] at the latter’s residence, it being a very joyous occasion. And there over three hundred sketches of all kinds were made – from immortals, Buddhas, scholars, and women on down to birds, beasts, grasses, and trees, the spirit of each captured fully by the brush.The final volume is considered spurious by some art historians.The initial publication is usually credited to Eirakuya Toshiro (永楽屋東四郎) of Nagoya whose publishing house was renamed to Eito Shoten in 1914.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden


Hokusai Manga

Prompt: Focus on Hokusai Manga and explain the Sources of the Manga.

The traditional view holds that, after the outburst of production, Hokusai carefully selected and redrew the sketches, arranging them into the patterns we see today. However, Michener (1958:30-34) argues that the pattern of the images on a particular plate were arranged by the wood carvers and publishers, not by the artist himself.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden


Hokusai Manga

Prompt: Explain the Sources of the Manga of this artwork, Hokusai Manga.

The traditional view holds that, after the outburst of production, Hokusai carefully selected and redrew the sketches, arranging them into the patterns we see today. However, Michener (1958:30-34) argues that the pattern of the images on a particular plate were arranged by the wood carvers and publishers, not by the artist himself.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden


Hokusai Manga

Prompt: How does Hokusai Manga explain its Sources of the Manga?

The traditional view holds that, after the outburst of production, Hokusai carefully selected and redrew the sketches, arranging them into the patterns we see today. However, Michener (1958:30-34) argues that the pattern of the images on a particular plate were arranged by the wood carvers and publishers, not by the artist himself.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden


Hokusai Manga

Prompt: In Hokusai Manga, how is the Sources of the Manga discussed?

The traditional view holds that, after the outburst of production, Hokusai carefully selected and redrew the sketches, arranging them into the patterns we see today. However, Michener (1958:30-34) argues that the pattern of the images on a particular plate were arranged by the wood carvers and publishers, not by the artist himself.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden


Hokusai Manga

Prompt: Focus on Hokusai Manga and explain the Legacy.

The first volume of 'Manga' (Defined by Hokusai as 'Brush gone wild'), was an art instruction book published to aid his troubled finances.  Shortly after he removed the text and republished it.  The Manga show a dedication to artistic realism in the portrayal of people and the natural world. The work was an immediate success, and the subsequent volumes soon followed. The work became known to the West after Dutch-employed German physicist Philipp Franz von Siebold took lithographs of some of the sketches to Europe where they appeared in his influential book on Japan, Nippon: Archiv Zur Beschreibung von Japon in 1832. The work began to circulate in the West soon after Matthew C. Perry's entry into Japan in 1854.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden


Hokusai Manga

Prompt: Explain the Legacy of this artwork, Hokusai Manga.

The first volume of 'Manga' (Defined by Hokusai as 'Brush gone wild'), was an art instruction book published to aid his troubled finances.  Shortly after he removed the text and republished it.  The Manga show a dedication to artistic realism in the portrayal of people and the natural world. The work was an immediate success, and the subsequent volumes soon followed. The work became known to the West after Dutch-employed German physicist Philipp Franz von Siebold took lithographs of some of the sketches to Europe where they appeared in his influential book on Japan, Nippon: Archiv Zur Beschreibung von Japon in 1832. The work began to circulate in the West soon after Matthew C. Perry's entry into Japan in 1854.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden


Hokusai Manga

Prompt: How does Hokusai Manga explain its Legacy?

The first volume of 'Manga' (Defined by Hokusai as 'Brush gone wild'), was an art instruction book published to aid his troubled finances.  Shortly after he removed the text and republished it.  The Manga show a dedication to artistic realism in the portrayal of people and the natural world. The work was an immediate success, and the subsequent volumes soon followed. The work became known to the West after Dutch-employed German physicist Philipp Franz von Siebold took lithographs of some of the sketches to Europe where they appeared in his influential book on Japan, Nippon: Archiv Zur Beschreibung von Japon in 1832. The work began to circulate in the West soon after Matthew C. Perry's entry into Japan in 1854.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden


Hokusai Manga

Prompt: In Hokusai Manga, how is the Legacy discussed?

The first volume of 'Manga' (Defined by Hokusai as 'Brush gone wild'), was an art instruction book published to aid his troubled finances.  Shortly after he removed the text and republished it.  The Manga show a dedication to artistic realism in the portrayal of people and the natural world. The work was an immediate success, and the subsequent volumes soon followed. The work became known to the West after Dutch-employed German physicist Philipp Franz von Siebold took lithographs of some of the sketches to Europe where they appeared in his influential book on Japan, Nippon: Archiv Zur Beschreibung von Japon in 1832. The work began to circulate in the West soon after Matthew C. Perry's entry into Japan in 1854.

''Hokusai Manga'' depicting [[self-defense

A page from the ''Manga'', showing people with their faces hidden