Doni Tondo

Prompt: Focus on Doni Tondo and explain the Description.

Mary is the most prominent figure in the composition, taking up much of the center of the image. She sits directly on the ground without a cushion between herself and the grass, to better communicate the theme of her relationship to the earth (?). Joseph is positioned higher in the image than Mary, although this is an unusual feature in compositions of the Holy Family. Mary is seated between his legs, as if he is protecting her, his great legs forming a kind of de facto throne. There is some debate as to whether Mary is receiving the Child from Joseph or vice versa.  Saint John the Baptist, the patron saint of Florence, is very commonly included in Florentine works depicting the Madonna and Child. He is in the middle-ground of the painting, between the Holy Family and the background. The scene appears to be a rural one, with the Holy Family enjoying themselves on the grass and separated from the curiously (seemingly) unrelated group at the back by a low wall.The painting is still in its original frame, one that Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space. Similar to the nudes of the background, the meanings of these heads has been the subject of speculation. The frame also contains carvings of crescent moons, stars, vegetation, and lions' heads. These symbols are, perhaps, references to the Doni and Strozzi families, taken from each one's coat of arms. As depicted on the frame, "the moons are bound together with ribbons that interlock with the lions", possibly referring to the marriage of the two families.There is a horizontal band, possibly a wall, separating the foreground and background. The background figures are five nudes, whose meaning and function are subject to much speculation and debate. Because they are much closer to us, the viewers, the Holy Family is much larger than the nudes in the background, a device to aid the illusion of deep space in a two-dimensional image. Behind Saint John the Baptist is a semi-circular ridge, against which the Sistine ignudi are leaning, or upon which they are sitting. This semi-circle reflects or mirrors the circular shape of the painting itself and acts as a foil to the vertical nature of the principal group (the Holy family). Mary and Joseph gaze at Christ, but none of the background nudes looks directly at him. The far background contains a mountainous landscape rendered in atmospheric perspective.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Explain the Description of this artwork, Doni Tondo.

Mary is the most prominent figure in the composition, taking up much of the center of the image. She sits directly on the ground without a cushion between herself and the grass, to better communicate the theme of her relationship to the earth (?). Joseph is positioned higher in the image than Mary, although this is an unusual feature in compositions of the Holy Family. Mary is seated between his legs, as if he is protecting her, his great legs forming a kind of de facto throne. There is some debate as to whether Mary is receiving the Child from Joseph or vice versa.  Saint John the Baptist, the patron saint of Florence, is very commonly included in Florentine works depicting the Madonna and Child. He is in the middle-ground of the painting, between the Holy Family and the background. The scene appears to be a rural one, with the Holy Family enjoying themselves on the grass and separated from the curiously (seemingly) unrelated group at the back by a low wall.The painting is still in its original frame, one that Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space. Similar to the nudes of the background, the meanings of these heads has been the subject of speculation. The frame also contains carvings of crescent moons, stars, vegetation, and lions' heads. These symbols are, perhaps, references to the Doni and Strozzi families, taken from each one's coat of arms. As depicted on the frame, "the moons are bound together with ribbons that interlock with the lions", possibly referring to the marriage of the two families.There is a horizontal band, possibly a wall, separating the foreground and background. The background figures are five nudes, whose meaning and function are subject to much speculation and debate. Because they are much closer to us, the viewers, the Holy Family is much larger than the nudes in the background, a device to aid the illusion of deep space in a two-dimensional image. Behind Saint John the Baptist is a semi-circular ridge, against which the Sistine ignudi are leaning, or upon which they are sitting. This semi-circle reflects or mirrors the circular shape of the painting itself and acts as a foil to the vertical nature of the principal group (the Holy family). Mary and Joseph gaze at Christ, but none of the background nudes looks directly at him. The far background contains a mountainous landscape rendered in atmospheric perspective.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: How does Doni Tondo explain its Description?

Mary is the most prominent figure in the composition, taking up much of the center of the image. She sits directly on the ground without a cushion between herself and the grass, to better communicate the theme of her relationship to the earth (?). Joseph is positioned higher in the image than Mary, although this is an unusual feature in compositions of the Holy Family. Mary is seated between his legs, as if he is protecting her, his great legs forming a kind of de facto throne. There is some debate as to whether Mary is receiving the Child from Joseph or vice versa.  Saint John the Baptist, the patron saint of Florence, is very commonly included in Florentine works depicting the Madonna and Child. He is in the middle-ground of the painting, between the Holy Family and the background. The scene appears to be a rural one, with the Holy Family enjoying themselves on the grass and separated from the curiously (seemingly) unrelated group at the back by a low wall.The painting is still in its original frame, one that Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space. Similar to the nudes of the background, the meanings of these heads has been the subject of speculation. The frame also contains carvings of crescent moons, stars, vegetation, and lions' heads. These symbols are, perhaps, references to the Doni and Strozzi families, taken from each one's coat of arms. As depicted on the frame, "the moons are bound together with ribbons that interlock with the lions", possibly referring to the marriage of the two families.There is a horizontal band, possibly a wall, separating the foreground and background. The background figures are five nudes, whose meaning and function are subject to much speculation and debate. Because they are much closer to us, the viewers, the Holy Family is much larger than the nudes in the background, a device to aid the illusion of deep space in a two-dimensional image. Behind Saint John the Baptist is a semi-circular ridge, against which the Sistine ignudi are leaning, or upon which they are sitting. This semi-circle reflects or mirrors the circular shape of the painting itself and acts as a foil to the vertical nature of the principal group (the Holy family). Mary and Joseph gaze at Christ, but none of the background nudes looks directly at him. The far background contains a mountainous landscape rendered in atmospheric perspective.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: In Doni Tondo, how is the Description discussed?

Mary is the most prominent figure in the composition, taking up much of the center of the image. She sits directly on the ground without a cushion between herself and the grass, to better communicate the theme of her relationship to the earth (?). Joseph is positioned higher in the image than Mary, although this is an unusual feature in compositions of the Holy Family. Mary is seated between his legs, as if he is protecting her, his great legs forming a kind of de facto throne. There is some debate as to whether Mary is receiving the Child from Joseph or vice versa.  Saint John the Baptist, the patron saint of Florence, is very commonly included in Florentine works depicting the Madonna and Child. He is in the middle-ground of the painting, between the Holy Family and the background. The scene appears to be a rural one, with the Holy Family enjoying themselves on the grass and separated from the curiously (seemingly) unrelated group at the back by a low wall.The painting is still in its original frame, one that Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space. Similar to the nudes of the background, the meanings of these heads has been the subject of speculation. The frame also contains carvings of crescent moons, stars, vegetation, and lions' heads. These symbols are, perhaps, references to the Doni and Strozzi families, taken from each one's coat of arms. As depicted on the frame, "the moons are bound together with ribbons that interlock with the lions", possibly referring to the marriage of the two families.There is a horizontal band, possibly a wall, separating the foreground and background. The background figures are five nudes, whose meaning and function are subject to much speculation and debate. Because they are much closer to us, the viewers, the Holy Family is much larger than the nudes in the background, a device to aid the illusion of deep space in a two-dimensional image. Behind Saint John the Baptist is a semi-circular ridge, against which the Sistine ignudi are leaning, or upon which they are sitting. This semi-circle reflects or mirrors the circular shape of the painting itself and acts as a foil to the vertical nature of the principal group (the Holy family). Mary and Joseph gaze at Christ, but none of the background nudes looks directly at him. The far background contains a mountainous landscape rendered in atmospheric perspective.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Focus on Doni Tondo and explain the Technique.

The Doni Tondo is believed to be the only existing panel picture Michelangelo painted without the aid of assistants; and, unlike his Manchester Madonna and Entombment (both National Gallery, London), the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes. The folds of the drapery are sharply modelled, and the modelling of the figures is distinctly sculptural, suggesting they are carved in medium marble. The nude figures in the background have softer modelling and look to be precursors to the ignudi, the male nude figures in the Sistine Ceiling frescoes. Michelangelo's technique includes shading from the most intense colors first to the lighter shades on top, using the darker colors as shadows. By applying the pigment in a certain way, Michelangelo created an "unfocused" effect in the background and focused detail in the foreground. The most vibrant color is located within the Virgin's garments, signifying her importance within the image. The masculinity of Mary could be explained by Michelangelo's use of male models for female figures, as was done for the Sistine Chapel.Michelangelo used a limited palette of pigments comprising Lead White, Azurite, Verdigris and a few others. He avoided ochres and used very little vermilion.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Explain the Technique of this artwork, Doni Tondo.

The Doni Tondo is believed to be the only existing panel picture Michelangelo painted without the aid of assistants; and, unlike his Manchester Madonna and Entombment (both National Gallery, London), the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes. The folds of the drapery are sharply modelled, and the modelling of the figures is distinctly sculptural, suggesting they are carved in medium marble. The nude figures in the background have softer modelling and look to be precursors to the ignudi, the male nude figures in the Sistine Ceiling frescoes. Michelangelo's technique includes shading from the most intense colors first to the lighter shades on top, using the darker colors as shadows. By applying the pigment in a certain way, Michelangelo created an "unfocused" effect in the background and focused detail in the foreground. The most vibrant color is located within the Virgin's garments, signifying her importance within the image. The masculinity of Mary could be explained by Michelangelo's use of male models for female figures, as was done for the Sistine Chapel.Michelangelo used a limited palette of pigments comprising Lead White, Azurite, Verdigris and a few others. He avoided ochres and used very little vermilion.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: How does Doni Tondo explain its Technique?

The Doni Tondo is believed to be the only existing panel picture Michelangelo painted without the aid of assistants; and, unlike his Manchester Madonna and Entombment (both National Gallery, London), the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes. The folds of the drapery are sharply modelled, and the modelling of the figures is distinctly sculptural, suggesting they are carved in medium marble. The nude figures in the background have softer modelling and look to be precursors to the ignudi, the male nude figures in the Sistine Ceiling frescoes. Michelangelo's technique includes shading from the most intense colors first to the lighter shades on top, using the darker colors as shadows. By applying the pigment in a certain way, Michelangelo created an "unfocused" effect in the background and focused detail in the foreground. The most vibrant color is located within the Virgin's garments, signifying her importance within the image. The masculinity of Mary could be explained by Michelangelo's use of male models for female figures, as was done for the Sistine Chapel.Michelangelo used a limited palette of pigments comprising Lead White, Azurite, Verdigris and a few others. He avoided ochres and used very little vermilion.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: In Doni Tondo, how is the Technique discussed?

The Doni Tondo is believed to be the only existing panel picture Michelangelo painted without the aid of assistants; and, unlike his Manchester Madonna and Entombment (both National Gallery, London), the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes. The folds of the drapery are sharply modelled, and the modelling of the figures is distinctly sculptural, suggesting they are carved in medium marble. The nude figures in the background have softer modelling and look to be precursors to the ignudi, the male nude figures in the Sistine Ceiling frescoes. Michelangelo's technique includes shading from the most intense colors first to the lighter shades on top, using the darker colors as shadows. By applying the pigment in a certain way, Michelangelo created an "unfocused" effect in the background and focused detail in the foreground. The most vibrant color is located within the Virgin's garments, signifying her importance within the image. The masculinity of Mary could be explained by Michelangelo's use of male models for female figures, as was done for the Sistine Chapel.Michelangelo used a limited palette of pigments comprising Lead White, Azurite, Verdigris and a few others. He avoided ochres and used very little vermilion.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Focus on Doni Tondo and explain the Influences.

The composition is, most likely, partially influenced by the cartoon (a term referring to a detailed later-stage preliminary drawing) for Leonardo da Vinci's The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David.The Doni Tondo is also associated with Luca Signorelli's Medici Madonna in the Uffizi.  Michelangelo probably knew of the work and its ideas, and he wanted to incorporate those ideas into his own work. Signorelli's Madonna similarly uses a tondo form, depicts nude male figures in the background, and displays the Virgin sitting directly on the earth.Three aspects of the painting can be attributed to an antique sardonyx cameo and a 15th-century relief from the circle of Donatello, available to Michelangelo in the Palazzo Medici: the circular form, the masculinity of Mary, and the positioning of the Christ Child. The Virgin's right arm mirrors the arm of the satyr in the cameo, and the cameo also depicts an infant located on the shoulders of the satyr, a position similar to the Christ Child being passed over the right arm of Mary.Additionally, some scholars suggest that Michelangelo was inspired by the famous Greco-Roman group of Laocoön and His Sons, excavated in 1506 in Rome, an event at which Michelangelo is believed to have been present. The pose of the nude figure in the background immediately behind Saint Joseph, to our right, appears to have been influenced by the twisting contortions of the figures captured by the serpent in the Laocoön (again, if this were so, it would alter the date of the Doni Tondo by several years).Furthermore, the inclusion of the five protruding heads in the paintings frame is often seen as a reference to a similar motif found on Ghiberti's Porta del Paradiso, the bronze doors of the Florence Baptistry which Michelangelo is known to have greatly admired.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Explain the Influences of this artwork, Doni Tondo.

The composition is, most likely, partially influenced by the cartoon (a term referring to a detailed later-stage preliminary drawing) for Leonardo da Vinci's The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David.The Doni Tondo is also associated with Luca Signorelli's Medici Madonna in the Uffizi.  Michelangelo probably knew of the work and its ideas, and he wanted to incorporate those ideas into his own work. Signorelli's Madonna similarly uses a tondo form, depicts nude male figures in the background, and displays the Virgin sitting directly on the earth.Three aspects of the painting can be attributed to an antique sardonyx cameo and a 15th-century relief from the circle of Donatello, available to Michelangelo in the Palazzo Medici: the circular form, the masculinity of Mary, and the positioning of the Christ Child. The Virgin's right arm mirrors the arm of the satyr in the cameo, and the cameo also depicts an infant located on the shoulders of the satyr, a position similar to the Christ Child being passed over the right arm of Mary.Additionally, some scholars suggest that Michelangelo was inspired by the famous Greco-Roman group of Laocoön and His Sons, excavated in 1506 in Rome, an event at which Michelangelo is believed to have been present. The pose of the nude figure in the background immediately behind Saint Joseph, to our right, appears to have been influenced by the twisting contortions of the figures captured by the serpent in the Laocoön (again, if this were so, it would alter the date of the Doni Tondo by several years).Furthermore, the inclusion of the five protruding heads in the paintings frame is often seen as a reference to a similar motif found on Ghiberti's Porta del Paradiso, the bronze doors of the Florence Baptistry which Michelangelo is known to have greatly admired.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: How does Doni Tondo explain its Influences?

The composition is, most likely, partially influenced by the cartoon (a term referring to a detailed later-stage preliminary drawing) for Leonardo da Vinci's The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David.The Doni Tondo is also associated with Luca Signorelli's Medici Madonna in the Uffizi.  Michelangelo probably knew of the work and its ideas, and he wanted to incorporate those ideas into his own work. Signorelli's Madonna similarly uses a tondo form, depicts nude male figures in the background, and displays the Virgin sitting directly on the earth.Three aspects of the painting can be attributed to an antique sardonyx cameo and a 15th-century relief from the circle of Donatello, available to Michelangelo in the Palazzo Medici: the circular form, the masculinity of Mary, and the positioning of the Christ Child. The Virgin's right arm mirrors the arm of the satyr in the cameo, and the cameo also depicts an infant located on the shoulders of the satyr, a position similar to the Christ Child being passed over the right arm of Mary.Additionally, some scholars suggest that Michelangelo was inspired by the famous Greco-Roman group of Laocoön and His Sons, excavated in 1506 in Rome, an event at which Michelangelo is believed to have been present. The pose of the nude figure in the background immediately behind Saint Joseph, to our right, appears to have been influenced by the twisting contortions of the figures captured by the serpent in the Laocoön (again, if this were so, it would alter the date of the Doni Tondo by several years).Furthermore, the inclusion of the five protruding heads in the paintings frame is often seen as a reference to a similar motif found on Ghiberti's Porta del Paradiso, the bronze doors of the Florence Baptistry which Michelangelo is known to have greatly admired.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: In Doni Tondo, how is the Influences discussed?

The composition is, most likely, partially influenced by the cartoon (a term referring to a detailed later-stage preliminary drawing) for Leonardo da Vinci's The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David.The Doni Tondo is also associated with Luca Signorelli's Medici Madonna in the Uffizi.  Michelangelo probably knew of the work and its ideas, and he wanted to incorporate those ideas into his own work. Signorelli's Madonna similarly uses a tondo form, depicts nude male figures in the background, and displays the Virgin sitting directly on the earth.Three aspects of the painting can be attributed to an antique sardonyx cameo and a 15th-century relief from the circle of Donatello, available to Michelangelo in the Palazzo Medici: the circular form, the masculinity of Mary, and the positioning of the Christ Child. The Virgin's right arm mirrors the arm of the satyr in the cameo, and the cameo also depicts an infant located on the shoulders of the satyr, a position similar to the Christ Child being passed over the right arm of Mary.Additionally, some scholars suggest that Michelangelo was inspired by the famous Greco-Roman group of Laocoön and His Sons, excavated in 1506 in Rome, an event at which Michelangelo is believed to have been present. The pose of the nude figure in the background immediately behind Saint Joseph, to our right, appears to have been influenced by the twisting contortions of the figures captured by the serpent in the Laocoön (again, if this were so, it would alter the date of the Doni Tondo by several years).Furthermore, the inclusion of the five protruding heads in the paintings frame is often seen as a reference to a similar motif found on Ghiberti's Porta del Paradiso, the bronze doors of the Florence Baptistry which Michelangelo is known to have greatly admired.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Focus on Doni Tondo and explain the Plant symbolism.

The plant in front of John the Baptist has aspects of both hyssop and cornflower, yet is most likely a hyssop because it grows from a wall. Cornflower is an attribute of Christ and symbolizes Heaven while hyssop symbolizes both the humility of Christ and baptism. There is a citron tree in the background, which represents the Cedar of Lebanon. Michelangelo uses the hyssop and tree as a visual representation of a quote by Rabanus Maurus, "From the Cedar of Lebanon to the hyssop which grows on a stony wall we have an explanation of the Divinity which Christ has in his Father and of the humanity that he derives from the Virgin Mary." The clover in the foreground represents the Trinity and salvation. The anemone plant represents the Trinity and the Passion of Christ.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Explain the Plant symbolism of this artwork, Doni Tondo.

The plant in front of John the Baptist has aspects of both hyssop and cornflower, yet is most likely a hyssop because it grows from a wall. Cornflower is an attribute of Christ and symbolizes Heaven while hyssop symbolizes both the humility of Christ and baptism. There is a citron tree in the background, which represents the Cedar of Lebanon. Michelangelo uses the hyssop and tree as a visual representation of a quote by Rabanus Maurus, "From the Cedar of Lebanon to the hyssop which grows on a stony wall we have an explanation of the Divinity which Christ has in his Father and of the humanity that he derives from the Virgin Mary." The clover in the foreground represents the Trinity and salvation. The anemone plant represents the Trinity and the Passion of Christ.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: How does Doni Tondo explain its Plant symbolism?

The plant in front of John the Baptist has aspects of both hyssop and cornflower, yet is most likely a hyssop because it grows from a wall. Cornflower is an attribute of Christ and symbolizes Heaven while hyssop symbolizes both the humility of Christ and baptism. There is a citron tree in the background, which represents the Cedar of Lebanon. Michelangelo uses the hyssop and tree as a visual representation of a quote by Rabanus Maurus, "From the Cedar of Lebanon to the hyssop which grows on a stony wall we have an explanation of the Divinity which Christ has in his Father and of the humanity that he derives from the Virgin Mary." The clover in the foreground represents the Trinity and salvation. The anemone plant represents the Trinity and the Passion of Christ.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: In Doni Tondo, how is the Plant symbolism discussed?

The plant in front of John the Baptist has aspects of both hyssop and cornflower, yet is most likely a hyssop because it grows from a wall. Cornflower is an attribute of Christ and symbolizes Heaven while hyssop symbolizes both the humility of Christ and baptism. There is a citron tree in the background, which represents the Cedar of Lebanon. Michelangelo uses the hyssop and tree as a visual representation of a quote by Rabanus Maurus, "From the Cedar of Lebanon to the hyssop which grows on a stony wall we have an explanation of the Divinity which Christ has in his Father and of the humanity that he derives from the Virgin Mary." The clover in the foreground represents the Trinity and salvation. The anemone plant represents the Trinity and the Passion of Christ.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Focus on Doni Tondo and explain the Scholarly theories.

There is a multitude of interpretations for the various parts of the work. Most interpretations differ in defining the relationship between the Holy Family and the figures in the background.Paul Barolsky argues that the Doni Tondo is a "devotional image […] more than an example of style, symbolism, [or] iconography". Barolsky bases much of his thesis on the language used by Giorgio Vasari in his work Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times. His support for the idea of devotion comes from Christ being presented in the painting like a gift, which he links to the painting's patron due to a perceived pun on the Italian word for "gift", donare, and the patron's name, Doni (meaning literally, in Italian, 'gifts'). Furthering the Christ-as-gift metaphor, Mary's holding of Christ in the painting is seen to reference the elevating of the host during mass.  Mirella Levi D'Ancona argues that the image reflects Michelangelo's views on the roles of the members of the Holy Family in human salvation and the soul's immortality. The Virgin's placement and emphasis is due to her role in human salvation. She is both the mother of Christ and the best intercessor for appealing to him. Michelangelo, who had been strongly influenced by the Dominican Fra Girolamo Savonarola in Florence, is using the picture to defend the Maculist point of view, a philosophy of the Dominican order rejecting the idea of the Immaculate Conception of Mary. The Maculist view is that the Virgin did not receive her sanctification at birth but at the moment of the incarnation of Christ; thus, the image depicts the moment of Mary's sanctification by showing the Christ Child blessing her. Michelangelo depicts Christ as if he is growing out of Mary's shoulder to take human form, one leg hanging limply and the other not visible at all, therefore making him a part of Mary. Moreover, his muscles and balance convey an upward movement, as if he is growing out of her, although he is above Mary, asserting his superiority to her. Furthermore, she argues that the nudes are to be interpreted as sinners who have removed their clothes for cleansing and purification through baptism. The water, which separates the sinners from the Holy Family, just beyond the horizontal band in the middle of the painting, can therefore be seen as the "waters of separation" mentioned in the Bible. She also argues that the five figures may represent the five parts of the soul: the higher soul (soul and intellect) on the left and the lower soul (imagination, sensation, and nourishing faculty) on the right, a visual depiction of the views of Marsilio Ficino, whom Michelangelo references in other works. Additionally, in looking at them as separate groupings, she suggests that the two figures on Mary's right represents the human and divine natures of Christ, while the three on her left represent the Trinity.Andrée Hayum argues that the commissioning of the tondo by the Doni family helped to emphasize the "secular and domestic ideals" of the painting rather than seeing it as a "devotional object". In choosing a tondo as the format for the picture, Michelangelo is referencing the form's long association with depicting the "Adoration of the Magi, the Nativity, [and] the Madonna and Child."  Hayum also finds many allusions to Noah throughout the work. She posits a referencing of the Madonna to Noah's daughter-in-law, a sibyl, which thus makes Joseph an embodiment of Noah himself. Hayum further supports this by acknowledging the direct link between Joseph and Noah as depicted in Michelangelo's Sistine Ceiling paintings. This link to Noah also gives an explanation to the nudes in the background, whose forms may have inspired the sons in the Drunkenness of Noah. The allusion to the Noah story also brings up themes of baptismal water, thus giving rise to an interpretation of the nudes similar to D'Ancona's: "catechumens awaiting baptism" from John the Baptist, whose "isolation within a pit-like space" indicates his special role as baptizer.Roberta Olson states that the painting depicts the "importance of the family" and is related to "Doni’s hoped-for descendants". One of the ways in which the painting depicts a "good marriage" is by the seemingly "reciprocal action" of the handling of Jesus between Joseph and Mary. Much importance is given to Joseph by way of the colors of his clothes: yellow, indicating the divine aspect of the family as well as "truth", and purple, standing for royal lineage tracing from the House of David. Additionally, Joseph is important to the painting by referencing the middle name of the "Doni's third child who lived beyond infancy".  The theme of baptism is also suggested on the painting's frame through a possible reference to Ghiberti's Porta del Paradiso – being one of the three sets of doors of the Florentine Baptistry (two of which by Ghiberti) – the sculpted details indirectly referring to the rite of Baptism, important for the Donis and their desire for a child as the product of a good marriage, exemplified by the Holy Family, perhaps one reason behind the commissioning of the work.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Explain the Scholarly theories of this artwork, Doni Tondo.

There is a multitude of interpretations for the various parts of the work. Most interpretations differ in defining the relationship between the Holy Family and the figures in the background.Paul Barolsky argues that the Doni Tondo is a "devotional image […] more than an example of style, symbolism, [or] iconography". Barolsky bases much of his thesis on the language used by Giorgio Vasari in his work Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times. His support for the idea of devotion comes from Christ being presented in the painting like a gift, which he links to the painting's patron due to a perceived pun on the Italian word for "gift", donare, and the patron's name, Doni (meaning literally, in Italian, 'gifts'). Furthering the Christ-as-gift metaphor, Mary's holding of Christ in the painting is seen to reference the elevating of the host during mass.  Mirella Levi D'Ancona argues that the image reflects Michelangelo's views on the roles of the members of the Holy Family in human salvation and the soul's immortality. The Virgin's placement and emphasis is due to her role in human salvation. She is both the mother of Christ and the best intercessor for appealing to him. Michelangelo, who had been strongly influenced by the Dominican Fra Girolamo Savonarola in Florence, is using the picture to defend the Maculist point of view, a philosophy of the Dominican order rejecting the idea of the Immaculate Conception of Mary. The Maculist view is that the Virgin did not receive her sanctification at birth but at the moment of the incarnation of Christ; thus, the image depicts the moment of Mary's sanctification by showing the Christ Child blessing her. Michelangelo depicts Christ as if he is growing out of Mary's shoulder to take human form, one leg hanging limply and the other not visible at all, therefore making him a part of Mary. Moreover, his muscles and balance convey an upward movement, as if he is growing out of her, although he is above Mary, asserting his superiority to her. Furthermore, she argues that the nudes are to be interpreted as sinners who have removed their clothes for cleansing and purification through baptism. The water, which separates the sinners from the Holy Family, just beyond the horizontal band in the middle of the painting, can therefore be seen as the "waters of separation" mentioned in the Bible. She also argues that the five figures may represent the five parts of the soul: the higher soul (soul and intellect) on the left and the lower soul (imagination, sensation, and nourishing faculty) on the right, a visual depiction of the views of Marsilio Ficino, whom Michelangelo references in other works. Additionally, in looking at them as separate groupings, she suggests that the two figures on Mary's right represents the human and divine natures of Christ, while the three on her left represent the Trinity.Andrée Hayum argues that the commissioning of the tondo by the Doni family helped to emphasize the "secular and domestic ideals" of the painting rather than seeing it as a "devotional object". In choosing a tondo as the format for the picture, Michelangelo is referencing the form's long association with depicting the "Adoration of the Magi, the Nativity, [and] the Madonna and Child."  Hayum also finds many allusions to Noah throughout the work. She posits a referencing of the Madonna to Noah's daughter-in-law, a sibyl, which thus makes Joseph an embodiment of Noah himself. Hayum further supports this by acknowledging the direct link between Joseph and Noah as depicted in Michelangelo's Sistine Ceiling paintings. This link to Noah also gives an explanation to the nudes in the background, whose forms may have inspired the sons in the Drunkenness of Noah. The allusion to the Noah story also brings up themes of baptismal water, thus giving rise to an interpretation of the nudes similar to D'Ancona's: "catechumens awaiting baptism" from John the Baptist, whose "isolation within a pit-like space" indicates his special role as baptizer.Roberta Olson states that the painting depicts the "importance of the family" and is related to "Doni’s hoped-for descendants". One of the ways in which the painting depicts a "good marriage" is by the seemingly "reciprocal action" of the handling of Jesus between Joseph and Mary. Much importance is given to Joseph by way of the colors of his clothes: yellow, indicating the divine aspect of the family as well as "truth", and purple, standing for royal lineage tracing from the House of David. Additionally, Joseph is important to the painting by referencing the middle name of the "Doni's third child who lived beyond infancy".  The theme of baptism is also suggested on the painting's frame through a possible reference to Ghiberti's Porta del Paradiso – being one of the three sets of doors of the Florentine Baptistry (two of which by Ghiberti) – the sculpted details indirectly referring to the rite of Baptism, important for the Donis and their desire for a child as the product of a good marriage, exemplified by the Holy Family, perhaps one reason behind the commissioning of the work.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: How does Doni Tondo explain its Scholarly theories?

There is a multitude of interpretations for the various parts of the work. Most interpretations differ in defining the relationship between the Holy Family and the figures in the background.Paul Barolsky argues that the Doni Tondo is a "devotional image […] more than an example of style, symbolism, [or] iconography". Barolsky bases much of his thesis on the language used by Giorgio Vasari in his work Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times. His support for the idea of devotion comes from Christ being presented in the painting like a gift, which he links to the painting's patron due to a perceived pun on the Italian word for "gift", donare, and the patron's name, Doni (meaning literally, in Italian, 'gifts'). Furthering the Christ-as-gift metaphor, Mary's holding of Christ in the painting is seen to reference the elevating of the host during mass.  Mirella Levi D'Ancona argues that the image reflects Michelangelo's views on the roles of the members of the Holy Family in human salvation and the soul's immortality. The Virgin's placement and emphasis is due to her role in human salvation. She is both the mother of Christ and the best intercessor for appealing to him. Michelangelo, who had been strongly influenced by the Dominican Fra Girolamo Savonarola in Florence, is using the picture to defend the Maculist point of view, a philosophy of the Dominican order rejecting the idea of the Immaculate Conception of Mary. The Maculist view is that the Virgin did not receive her sanctification at birth but at the moment of the incarnation of Christ; thus, the image depicts the moment of Mary's sanctification by showing the Christ Child blessing her. Michelangelo depicts Christ as if he is growing out of Mary's shoulder to take human form, one leg hanging limply and the other not visible at all, therefore making him a part of Mary. Moreover, his muscles and balance convey an upward movement, as if he is growing out of her, although he is above Mary, asserting his superiority to her. Furthermore, she argues that the nudes are to be interpreted as sinners who have removed their clothes for cleansing and purification through baptism. The water, which separates the sinners from the Holy Family, just beyond the horizontal band in the middle of the painting, can therefore be seen as the "waters of separation" mentioned in the Bible. She also argues that the five figures may represent the five parts of the soul: the higher soul (soul and intellect) on the left and the lower soul (imagination, sensation, and nourishing faculty) on the right, a visual depiction of the views of Marsilio Ficino, whom Michelangelo references in other works. Additionally, in looking at them as separate groupings, she suggests that the two figures on Mary's right represents the human and divine natures of Christ, while the three on her left represent the Trinity.Andrée Hayum argues that the commissioning of the tondo by the Doni family helped to emphasize the "secular and domestic ideals" of the painting rather than seeing it as a "devotional object". In choosing a tondo as the format for the picture, Michelangelo is referencing the form's long association with depicting the "Adoration of the Magi, the Nativity, [and] the Madonna and Child."  Hayum also finds many allusions to Noah throughout the work. She posits a referencing of the Madonna to Noah's daughter-in-law, a sibyl, which thus makes Joseph an embodiment of Noah himself. Hayum further supports this by acknowledging the direct link between Joseph and Noah as depicted in Michelangelo's Sistine Ceiling paintings. This link to Noah also gives an explanation to the nudes in the background, whose forms may have inspired the sons in the Drunkenness of Noah. The allusion to the Noah story also brings up themes of baptismal water, thus giving rise to an interpretation of the nudes similar to D'Ancona's: "catechumens awaiting baptism" from John the Baptist, whose "isolation within a pit-like space" indicates his special role as baptizer.Roberta Olson states that the painting depicts the "importance of the family" and is related to "Doni’s hoped-for descendants". One of the ways in which the painting depicts a "good marriage" is by the seemingly "reciprocal action" of the handling of Jesus between Joseph and Mary. Much importance is given to Joseph by way of the colors of his clothes: yellow, indicating the divine aspect of the family as well as "truth", and purple, standing for royal lineage tracing from the House of David. Additionally, Joseph is important to the painting by referencing the middle name of the "Doni's third child who lived beyond infancy".  The theme of baptism is also suggested on the painting's frame through a possible reference to Ghiberti's Porta del Paradiso – being one of the three sets of doors of the Florentine Baptistry (two of which by Ghiberti) – the sculpted details indirectly referring to the rite of Baptism, important for the Donis and their desire for a child as the product of a good marriage, exemplified by the Holy Family, perhaps one reason behind the commissioning of the work.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: In Doni Tondo, how is the Scholarly theories discussed?

There is a multitude of interpretations for the various parts of the work. Most interpretations differ in defining the relationship between the Holy Family and the figures in the background.Paul Barolsky argues that the Doni Tondo is a "devotional image […] more than an example of style, symbolism, [or] iconography". Barolsky bases much of his thesis on the language used by Giorgio Vasari in his work Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times. His support for the idea of devotion comes from Christ being presented in the painting like a gift, which he links to the painting's patron due to a perceived pun on the Italian word for "gift", donare, and the patron's name, Doni (meaning literally, in Italian, 'gifts'). Furthering the Christ-as-gift metaphor, Mary's holding of Christ in the painting is seen to reference the elevating of the host during mass.  Mirella Levi D'Ancona argues that the image reflects Michelangelo's views on the roles of the members of the Holy Family in human salvation and the soul's immortality. The Virgin's placement and emphasis is due to her role in human salvation. She is both the mother of Christ and the best intercessor for appealing to him. Michelangelo, who had been strongly influenced by the Dominican Fra Girolamo Savonarola in Florence, is using the picture to defend the Maculist point of view, a philosophy of the Dominican order rejecting the idea of the Immaculate Conception of Mary. The Maculist view is that the Virgin did not receive her sanctification at birth but at the moment of the incarnation of Christ; thus, the image depicts the moment of Mary's sanctification by showing the Christ Child blessing her. Michelangelo depicts Christ as if he is growing out of Mary's shoulder to take human form, one leg hanging limply and the other not visible at all, therefore making him a part of Mary. Moreover, his muscles and balance convey an upward movement, as if he is growing out of her, although he is above Mary, asserting his superiority to her. Furthermore, she argues that the nudes are to be interpreted as sinners who have removed their clothes for cleansing and purification through baptism. The water, which separates the sinners from the Holy Family, just beyond the horizontal band in the middle of the painting, can therefore be seen as the "waters of separation" mentioned in the Bible. She also argues that the five figures may represent the five parts of the soul: the higher soul (soul and intellect) on the left and the lower soul (imagination, sensation, and nourishing faculty) on the right, a visual depiction of the views of Marsilio Ficino, whom Michelangelo references in other works. Additionally, in looking at them as separate groupings, she suggests that the two figures on Mary's right represents the human and divine natures of Christ, while the three on her left represent the Trinity.Andrée Hayum argues that the commissioning of the tondo by the Doni family helped to emphasize the "secular and domestic ideals" of the painting rather than seeing it as a "devotional object". In choosing a tondo as the format for the picture, Michelangelo is referencing the form's long association with depicting the "Adoration of the Magi, the Nativity, [and] the Madonna and Child."  Hayum also finds many allusions to Noah throughout the work. She posits a referencing of the Madonna to Noah's daughter-in-law, a sibyl, which thus makes Joseph an embodiment of Noah himself. Hayum further supports this by acknowledging the direct link between Joseph and Noah as depicted in Michelangelo's Sistine Ceiling paintings. This link to Noah also gives an explanation to the nudes in the background, whose forms may have inspired the sons in the Drunkenness of Noah. The allusion to the Noah story also brings up themes of baptismal water, thus giving rise to an interpretation of the nudes similar to D'Ancona's: "catechumens awaiting baptism" from John the Baptist, whose "isolation within a pit-like space" indicates his special role as baptizer.Roberta Olson states that the painting depicts the "importance of the family" and is related to "Doni’s hoped-for descendants". One of the ways in which the painting depicts a "good marriage" is by the seemingly "reciprocal action" of the handling of Jesus between Joseph and Mary. Much importance is given to Joseph by way of the colors of his clothes: yellow, indicating the divine aspect of the family as well as "truth", and purple, standing for royal lineage tracing from the House of David. Additionally, Joseph is important to the painting by referencing the middle name of the "Doni's third child who lived beyond infancy".  The theme of baptism is also suggested on the painting's frame through a possible reference to Ghiberti's Porta del Paradiso – being one of the three sets of doors of the Florentine Baptistry (two of which by Ghiberti) – the sculpted details indirectly referring to the rite of Baptism, important for the Donis and their desire for a child as the product of a good marriage, exemplified by the Holy Family, perhaps one reason behind the commissioning of the work.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Isleworth Mona Lisa

Prompt: Focus on Isleworth Mona Lisa and explain the abstract.

The Isleworth Mona Lisa is an early 16th-century oil on canvas painting depicting the same subject as Leonardo da Vinci's Mona Lisa, though with the subject (Lisa del Giocondo) depicted as being a younger age. The painting is thought to have been brought from Italy to England in the 1780s, and came into public view in 1913 when the English connoisseur Hugh Blaker acquired it from a manor house in Somerset, where it was thought to have been hanging for over a century. The painting would eventually adopt its unofficial name of Isleworth Mona Lisa from Blaker's studio being in Isleworth, West London. Since the 1910s, experts in various fields, as well as the collectors who have acquired ownership of the painting, have asserted that the major elements of the painting are the work of Leonardo himself, as an earlier version of the Mona Lisa.In 1914, art critic Paul George Konody criticized early reports of the painting, which contained errors that he believed caused skepticism about the painting to become "hostile incredulity", but Konody nonetheless found that the painting was clearly "very largely worked up by the master himself". Konody also found the painting to have features "far more pleasing and beautiful than in the Louvre version". A number of Italian experts in the 1920s echoed Konody's assessment of authorship by Leonardo at a time when the painting was more broadly examined. Much later authorities have made varying characterizations of the degree to which the painting can be ascribed to Leonardo; in 2012, The Guardian described the art world as being "split" over the question, and in 2013, Reuters said that it was "dismissed by some experts", but "also won support in the art world". Art historian Jean-Pierre Isbouts has endorsed Leonardo's involvement in painting the work, asserting that "24 of 27 recognised Leonardo scholars have agreed this is a Leonardo", while art historian Martin Kemp dismisses the proposition that Leonardo painted any part, and in 2012 described his contemporaries in the art world as being equivocal, or making "encouraging but noncommittal statements" on this point.Kemp and others who doubt Leonardo's hand in the painting attribute it to the Leonardeschi, Leonardo's workshop, believing it to be one of a number of copies of the Mona Lisa produced by Leonardo's collaborators, assistants, and pupils, though, as Leonardo biographer Walter Isaacson expressed it, "perhaps with an occasional helping hand from the master". In 2010, The Mona Lisa Foundation was founded to investigate if the Isleworth Mona Lisa was painted in part by Leonardo, but as an earlier version of the Louvre Mona Lisa.Differing views have been expressed on the relative weight to be given to scientific evidence versus connoisseurship. Physicist John F. Asmus, who pioneered laser-restoration techniques for Renaissance art, and who had previously examined the Mona Lisa in the Louvre for this purpose, published a computer image processing study in 1988 concluding that the brush strokes of the face in the painting were performed by the same artist responsible for the brush strokes of the face of the Mona Lisa in the Louvre, and replicated that finding in a 2016 study. However, curator Luke Syson has argued that science is "only ever one of several factors we'd use to assess the authenticity and authorship of a work of art". An independent 2015 academic journal article also attributed the work to Leonardo on stylistic grounds.

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: Explain the abstract of this artwork, Isleworth Mona Lisa.

The Isleworth Mona Lisa is an early 16th-century oil on canvas painting depicting the same subject as Leonardo da Vinci's Mona Lisa, though with the subject (Lisa del Giocondo) depicted as being a younger age. The painting is thought to have been brought from Italy to England in the 1780s, and came into public view in 1913 when the English connoisseur Hugh Blaker acquired it from a manor house in Somerset, where it was thought to have been hanging for over a century. The painting would eventually adopt its unofficial name of Isleworth Mona Lisa from Blaker's studio being in Isleworth, West London. Since the 1910s, experts in various fields, as well as the collectors who have acquired ownership of the painting, have asserted that the major elements of the painting are the work of Leonardo himself, as an earlier version of the Mona Lisa.In 1914, art critic Paul George Konody criticized early reports of the painting, which contained errors that he believed caused skepticism about the painting to become "hostile incredulity", but Konody nonetheless found that the painting was clearly "very largely worked up by the master himself". Konody also found the painting to have features "far more pleasing and beautiful than in the Louvre version". A number of Italian experts in the 1920s echoed Konody's assessment of authorship by Leonardo at a time when the painting was more broadly examined. Much later authorities have made varying characterizations of the degree to which the painting can be ascribed to Leonardo; in 2012, The Guardian described the art world as being "split" over the question, and in 2013, Reuters said that it was "dismissed by some experts", but "also won support in the art world". Art historian Jean-Pierre Isbouts has endorsed Leonardo's involvement in painting the work, asserting that "24 of 27 recognised Leonardo scholars have agreed this is a Leonardo", while art historian Martin Kemp dismisses the proposition that Leonardo painted any part, and in 2012 described his contemporaries in the art world as being equivocal, or making "encouraging but noncommittal statements" on this point.Kemp and others who doubt Leonardo's hand in the painting attribute it to the Leonardeschi, Leonardo's workshop, believing it to be one of a number of copies of the Mona Lisa produced by Leonardo's collaborators, assistants, and pupils, though, as Leonardo biographer Walter Isaacson expressed it, "perhaps with an occasional helping hand from the master". In 2010, The Mona Lisa Foundation was founded to investigate if the Isleworth Mona Lisa was painted in part by Leonardo, but as an earlier version of the Louvre Mona Lisa.Differing views have been expressed on the relative weight to be given to scientific evidence versus connoisseurship. Physicist John F. Asmus, who pioneered laser-restoration techniques for Renaissance art, and who had previously examined the Mona Lisa in the Louvre for this purpose, published a computer image processing study in 1988 concluding that the brush strokes of the face in the painting were performed by the same artist responsible for the brush strokes of the face of the Mona Lisa in the Louvre, and replicated that finding in a 2016 study. However, curator Luke Syson has argued that science is "only ever one of several factors we'd use to assess the authenticity and authorship of a work of art". An independent 2015 academic journal article also attributed the work to Leonardo on stylistic grounds.

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: How does Isleworth Mona Lisa explain its abstract?

The Isleworth Mona Lisa is an early 16th-century oil on canvas painting depicting the same subject as Leonardo da Vinci's Mona Lisa, though with the subject (Lisa del Giocondo) depicted as being a younger age. The painting is thought to have been brought from Italy to England in the 1780s, and came into public view in 1913 when the English connoisseur Hugh Blaker acquired it from a manor house in Somerset, where it was thought to have been hanging for over a century. The painting would eventually adopt its unofficial name of Isleworth Mona Lisa from Blaker's studio being in Isleworth, West London. Since the 1910s, experts in various fields, as well as the collectors who have acquired ownership of the painting, have asserted that the major elements of the painting are the work of Leonardo himself, as an earlier version of the Mona Lisa.In 1914, art critic Paul George Konody criticized early reports of the painting, which contained errors that he believed caused skepticism about the painting to become "hostile incredulity", but Konody nonetheless found that the painting was clearly "very largely worked up by the master himself". Konody also found the painting to have features "far more pleasing and beautiful than in the Louvre version". A number of Italian experts in the 1920s echoed Konody's assessment of authorship by Leonardo at a time when the painting was more broadly examined. Much later authorities have made varying characterizations of the degree to which the painting can be ascribed to Leonardo; in 2012, The Guardian described the art world as being "split" over the question, and in 2013, Reuters said that it was "dismissed by some experts", but "also won support in the art world". Art historian Jean-Pierre Isbouts has endorsed Leonardo's involvement in painting the work, asserting that "24 of 27 recognised Leonardo scholars have agreed this is a Leonardo", while art historian Martin Kemp dismisses the proposition that Leonardo painted any part, and in 2012 described his contemporaries in the art world as being equivocal, or making "encouraging but noncommittal statements" on this point.Kemp and others who doubt Leonardo's hand in the painting attribute it to the Leonardeschi, Leonardo's workshop, believing it to be one of a number of copies of the Mona Lisa produced by Leonardo's collaborators, assistants, and pupils, though, as Leonardo biographer Walter Isaacson expressed it, "perhaps with an occasional helping hand from the master". In 2010, The Mona Lisa Foundation was founded to investigate if the Isleworth Mona Lisa was painted in part by Leonardo, but as an earlier version of the Louvre Mona Lisa.Differing views have been expressed on the relative weight to be given to scientific evidence versus connoisseurship. Physicist John F. Asmus, who pioneered laser-restoration techniques for Renaissance art, and who had previously examined the Mona Lisa in the Louvre for this purpose, published a computer image processing study in 1988 concluding that the brush strokes of the face in the painting were performed by the same artist responsible for the brush strokes of the face of the Mona Lisa in the Louvre, and replicated that finding in a 2016 study. However, curator Luke Syson has argued that science is "only ever one of several factors we'd use to assess the authenticity and authorship of a work of art". An independent 2015 academic journal article also attributed the work to Leonardo on stylistic grounds.

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: In Isleworth Mona Lisa, how is the abstract discussed?

The Isleworth Mona Lisa is an early 16th-century oil on canvas painting depicting the same subject as Leonardo da Vinci's Mona Lisa, though with the subject (Lisa del Giocondo) depicted as being a younger age. The painting is thought to have been brought from Italy to England in the 1780s, and came into public view in 1913 when the English connoisseur Hugh Blaker acquired it from a manor house in Somerset, where it was thought to have been hanging for over a century. The painting would eventually adopt its unofficial name of Isleworth Mona Lisa from Blaker's studio being in Isleworth, West London. Since the 1910s, experts in various fields, as well as the collectors who have acquired ownership of the painting, have asserted that the major elements of the painting are the work of Leonardo himself, as an earlier version of the Mona Lisa.In 1914, art critic Paul George Konody criticized early reports of the painting, which contained errors that he believed caused skepticism about the painting to become "hostile incredulity", but Konody nonetheless found that the painting was clearly "very largely worked up by the master himself". Konody also found the painting to have features "far more pleasing and beautiful than in the Louvre version". A number of Italian experts in the 1920s echoed Konody's assessment of authorship by Leonardo at a time when the painting was more broadly examined. Much later authorities have made varying characterizations of the degree to which the painting can be ascribed to Leonardo; in 2012, The Guardian described the art world as being "split" over the question, and in 2013, Reuters said that it was "dismissed by some experts", but "also won support in the art world". Art historian Jean-Pierre Isbouts has endorsed Leonardo's involvement in painting the work, asserting that "24 of 27 recognised Leonardo scholars have agreed this is a Leonardo", while art historian Martin Kemp dismisses the proposition that Leonardo painted any part, and in 2012 described his contemporaries in the art world as being equivocal, or making "encouraging but noncommittal statements" on this point.Kemp and others who doubt Leonardo's hand in the painting attribute it to the Leonardeschi, Leonardo's workshop, believing it to be one of a number of copies of the Mona Lisa produced by Leonardo's collaborators, assistants, and pupils, though, as Leonardo biographer Walter Isaacson expressed it, "perhaps with an occasional helping hand from the master". In 2010, The Mona Lisa Foundation was founded to investigate if the Isleworth Mona Lisa was painted in part by Leonardo, but as an earlier version of the Louvre Mona Lisa.Differing views have been expressed on the relative weight to be given to scientific evidence versus connoisseurship. Physicist John F. Asmus, who pioneered laser-restoration techniques for Renaissance art, and who had previously examined the Mona Lisa in the Louvre for this purpose, published a computer image processing study in 1988 concluding that the brush strokes of the face in the painting were performed by the same artist responsible for the brush strokes of the face of the Mona Lisa in the Louvre, and replicated that finding in a 2016 study. However, curator Luke Syson has argued that science is "only ever one of several factors we'd use to assess the authenticity and authorship of a work of art". An independent 2015 academic journal article also attributed the work to Leonardo on stylistic grounds.

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: Focus on Isleworth Mona Lisa and explain the Description.

The Isleworth Mona Lisa is of the same subject as the Mona Lisa in the Louvre and there are many similarities between the two. Both paintings depict a dark-haired woman, Lisa Gherardini, who sits at an angle and is surrounded by the landscape behind her. The work measures 84.5 × 64.5 cm, slightly larger than the Louvre Mona Lisa. However, the Isleworth Mona Lisa is differentiated by the model being noticeably younger, having columns, and being painted on canvas. The canvas is of hand-woven linen cloth, characterized by "simple 'tabby' weaves with an average count of 18 threads per cm2 in the warp and 16 threads per cm2 in the weft, that cross one another regularly, with some variation in thickness. The result is a deformation in which the warp is slightly tighter than the weft".

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: Explain the Description of this artwork, Isleworth Mona Lisa.

The Isleworth Mona Lisa is of the same subject as the Mona Lisa in the Louvre and there are many similarities between the two. Both paintings depict a dark-haired woman, Lisa Gherardini, who sits at an angle and is surrounded by the landscape behind her. The work measures 84.5 × 64.5 cm, slightly larger than the Louvre Mona Lisa. However, the Isleworth Mona Lisa is differentiated by the model being noticeably younger, having columns, and being painted on canvas. The canvas is of hand-woven linen cloth, characterized by "simple 'tabby' weaves with an average count of 18 threads per cm2 in the warp and 16 threads per cm2 in the weft, that cross one another regularly, with some variation in thickness. The result is a deformation in which the warp is slightly tighter than the weft".

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: How does Isleworth Mona Lisa explain its Description?

The Isleworth Mona Lisa is of the same subject as the Mona Lisa in the Louvre and there are many similarities between the two. Both paintings depict a dark-haired woman, Lisa Gherardini, who sits at an angle and is surrounded by the landscape behind her. The work measures 84.5 × 64.5 cm, slightly larger than the Louvre Mona Lisa. However, the Isleworth Mona Lisa is differentiated by the model being noticeably younger, having columns, and being painted on canvas. The canvas is of hand-woven linen cloth, characterized by "simple 'tabby' weaves with an average count of 18 threads per cm2 in the warp and 16 threads per cm2 in the weft, that cross one another regularly, with some variation in thickness. The result is a deformation in which the warp is slightly tighter than the weft".

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: In Isleworth Mona Lisa, how is the Description discussed?

The Isleworth Mona Lisa is of the same subject as the Mona Lisa in the Louvre and there are many similarities between the two. Both paintings depict a dark-haired woman, Lisa Gherardini, who sits at an angle and is surrounded by the landscape behind her. The work measures 84.5 × 64.5 cm, slightly larger than the Louvre Mona Lisa. However, the Isleworth Mona Lisa is differentiated by the model being noticeably younger, having columns, and being painted on canvas. The canvas is of hand-woven linen cloth, characterized by "simple 'tabby' weaves with an average count of 18 threads per cm2 in the warp and 16 threads per cm2 in the weft, that cross one another regularly, with some variation in thickness. The result is a deformation in which the warp is slightly tighter than the weft".

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: In the context of Isleworth Mona Lisa, explain the Face and hands and the Description.

Konody observed of the Isleworth subject that "[t]he head is inclined at a different angle". Physicist John F. Asmus, who had previously examined the Mona Lisa in the Louvre and investigated other works by Leonardo, published a computer image processing study in 1988 concluding that the brush strokes of the face in the painting were performed by the same artist responsible for the brush strokes of the face of the Mona Lisa in the Louvre. Asmus found that the head appears to be "tilted forward toward the viewer... consistent with the dramatically shorter appearing neck, which is also a greater angle to the vertical than that of the Louvre painting". Another early reviewer commented that "[t]he head is tilted more forward and the parting of the hair is exactly in the center, while that of the Louvre picture starts in the middle of the forehead and runs towards the back of the head at an impossible and incorrect angle". Asmus observed that "the Isleworth figure has a somewhat higher forehead, a slightly wider face, and less of a bulge in the veil over the proper left side of the head". He further reported that "the eyes are much wider set in the Isleworth painting". John Eyre reported Adolfo Venturi, in his early 1920s examination, praised "the beauty of the eye drawing... is the principal portion done by Leonardo together with the line of the mouth".A review of the painting in the Deseret News shortly after it was first shown to the public describes its tonality as being darker, and describes the coloring as being in "accordance with almost all the works attributed to Leonardo—that of a golden glow—while the finish is of a most minute character". Italian curator Lorenzo Cecconi, who also examined the painting in the 1920s, said that "the fusion of the tints of the flesh, especially in the eyes; the line which designs the nose, the mouth, and the oval of the face" were remarkable, and indicated that "this may be a second work of the Great Leonardo". In the same period, Renaissance scholar Arduino Colasanti thought "the upper part with the eyes and nose of the face" were definitely by Leonardo, and noted collector Ludovico Spiridon stated that "the face has been painted by Leonardo; no doubt of this at all". In the 1960s, the art dealer Henry F. Pulitzer claimed that "densitometric tests on the planes of face and hands show a gradual change of tone values from dark to light which only [Leonardo] da Vinci, with his amazing eyesight, was capable of". Asmus similarly found in the 1980s that amplitude histograms sorting the number of pixels of each brightness level in these features "reveal a remarkable similarity even though the images are noticeably different". Other differences have been observed with respect to aspects of the face:The Louvre picture, whether from cleaning or some other cause, shows a bulge over the left eye which is anatomically impossible—a blemish which is absent in the newly discovered version, while the line of the jaw is not cut in so suddenly against the chin. ... the whole picture is unbelievably beautiful.French artist Albert Sauteur suggested in 2014 that differences between the paintings were accounted for not only by the model having aged, but that the narrower face and closer eyes in the Louvre painting could be accounted for by Leonardo experimenting with painting from a binocular visual perspective, rather than the traditional monocular perspective. British fine arts consultant Archibald Cecil Chappelow of the Royal Society of Arts, wrote in 1956 that "the face is superbly painted, and the hands more neatly defined than those in the Louvre painting". Asmus specifically asserted that "portions of the hands in the Louvre painting have been criticized as being 'fat and ugly'", while "it is intriguing to note that the Isleworth thumb is more slender and closer to what would be expected from Leonardo". Asmus notes that this may be the result of inept repair work later on. Konody further stated of the painting that "[t]he hands, with their careful and somewhat hard drawing and terra cotta coloring, suggest at once the name of Leonardo's pupil, Marco d' Oggionno; whereas the inimitably soft and lovely painting of the head and bust, the exquisite subtlety of the expression, the golden glow of the general coloring, can be due only to Leonardo". Spiridon thought that "[t]he redness of the hands is probably due to a bad varnish that could be removed". Konody found the features of the Isleworth painting overall to be "more delicate" than those of the Louvre painting, stating of them, "let it be boldly stated, far more pleasing and beautiful than in the Louvre version".Art critic Jonathan Jones expressed himself decisively against the attribution of the painting to Leonardo, above all, but not only, in consideration of the features of the face.

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: Explain the Face and hands about the Description of this artwork, Isleworth Mona Lisa.

Konody observed of the Isleworth subject that "[t]he head is inclined at a different angle". Physicist John F. Asmus, who had previously examined the Mona Lisa in the Louvre and investigated other works by Leonardo, published a computer image processing study in 1988 concluding that the brush strokes of the face in the painting were performed by the same artist responsible for the brush strokes of the face of the Mona Lisa in the Louvre. Asmus found that the head appears to be "tilted forward toward the viewer... consistent with the dramatically shorter appearing neck, which is also a greater angle to the vertical than that of the Louvre painting". Another early reviewer commented that "[t]he head is tilted more forward and the parting of the hair is exactly in the center, while that of the Louvre picture starts in the middle of the forehead and runs towards the back of the head at an impossible and incorrect angle". Asmus observed that "the Isleworth figure has a somewhat higher forehead, a slightly wider face, and less of a bulge in the veil over the proper left side of the head". He further reported that "the eyes are much wider set in the Isleworth painting". John Eyre reported Adolfo Venturi, in his early 1920s examination, praised "the beauty of the eye drawing... is the principal portion done by Leonardo together with the line of the mouth".A review of the painting in the Deseret News shortly after it was first shown to the public describes its tonality as being darker, and describes the coloring as being in "accordance with almost all the works attributed to Leonardo—that of a golden glow—while the finish is of a most minute character". Italian curator Lorenzo Cecconi, who also examined the painting in the 1920s, said that "the fusion of the tints of the flesh, especially in the eyes; the line which designs the nose, the mouth, and the oval of the face" were remarkable, and indicated that "this may be a second work of the Great Leonardo". In the same period, Renaissance scholar Arduino Colasanti thought "the upper part with the eyes and nose of the face" were definitely by Leonardo, and noted collector Ludovico Spiridon stated that "the face has been painted by Leonardo; no doubt of this at all". In the 1960s, the art dealer Henry F. Pulitzer claimed that "densitometric tests on the planes of face and hands show a gradual change of tone values from dark to light which only [Leonardo] da Vinci, with his amazing eyesight, was capable of". Asmus similarly found in the 1980s that amplitude histograms sorting the number of pixels of each brightness level in these features "reveal a remarkable similarity even though the images are noticeably different". Other differences have been observed with respect to aspects of the face:The Louvre picture, whether from cleaning or some other cause, shows a bulge over the left eye which is anatomically impossible—a blemish which is absent in the newly discovered version, while the line of the jaw is not cut in so suddenly against the chin. ... the whole picture is unbelievably beautiful.French artist Albert Sauteur suggested in 2014 that differences between the paintings were accounted for not only by the model having aged, but that the narrower face and closer eyes in the Louvre painting could be accounted for by Leonardo experimenting with painting from a binocular visual perspective, rather than the traditional monocular perspective. British fine arts consultant Archibald Cecil Chappelow of the Royal Society of Arts, wrote in 1956 that "the face is superbly painted, and the hands more neatly defined than those in the Louvre painting". Asmus specifically asserted that "portions of the hands in the Louvre painting have been criticized as being 'fat and ugly'", while "it is intriguing to note that the Isleworth thumb is more slender and closer to what would be expected from Leonardo". Asmus notes that this may be the result of inept repair work later on. Konody further stated of the painting that "[t]he hands, with their careful and somewhat hard drawing and terra cotta coloring, suggest at once the name of Leonardo's pupil, Marco d' Oggionno; whereas the inimitably soft and lovely painting of the head and bust, the exquisite subtlety of the expression, the golden glow of the general coloring, can be due only to Leonardo". Spiridon thought that "[t]he redness of the hands is probably due to a bad varnish that could be removed". Konody found the features of the Isleworth painting overall to be "more delicate" than those of the Louvre painting, stating of them, "let it be boldly stated, far more pleasing and beautiful than in the Louvre version".Art critic Jonathan Jones expressed himself decisively against the attribution of the painting to Leonardo, above all, but not only, in consideration of the features of the face.

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)