Landscape with the Fall of Icarus

Prompt: In Landscape with the Fall of Icarus, how is the Mentions in other media discussed?

The painting is shown in Nicolas Roeg's film The Man Who Fell to Earth (1976), where a character opens a book of paintings to an image of it. On the facing page a description points out that the scene remains calm, the event of the fall hardly noticed. The painting also figures into the Walter Tevis novel on which the film is based. The characters of Newton and Bryce discuss the painting near the end of chapter four, part two. Tevis also mentions the painting in his 1980 novel Mockingbird. In chapter five of the first section narrated by the character Mary Lou, the robot Spofforth brings the painting to her.Eric Steele, whose film The Bridge (2006) documents the suicides of two-dozen people who jumped off the world's most popular suicide site – the Golden Gate Bridge – throughout 2004, has compared images captured in his documentary to those of Bruegel's Landscape With the Fall of Icarus, because the fatal leaps go almost unnoticed by passersby.Composer Brian Ferneyhough's 1988 chamber work La Chute d'Icare was inspired by the painting:What this piece attempts to suggest is ... less a reflection on the heroic-tragic dimension of the underlying myth than a transcription of the strange sensation of "already having been" which is brilliantly evoked by Breughel in the view of a world serenely pursuing its own concerns, completelyoblivious to the almost invisible tiny pair of legs waving pathetically out of the water, the only record of the apocalyptic event being a pair of feathers floating disconsolately down in the wake of their erstwhile owner. The painting features prominently in Frank Ceruzzi's dystopian play Round Went the Wheel (2019), where children take control of the world and use the painting and the Icarus myth as a way to teach the adult population about hubris and the dangers of technology.The painting was included in the 1980 television series 100 Great Paintings.The painting is mentioned by W. H. Auden in his 1938 poem, "Musée des Beaux Arts", in which Icarus's fall is perceived by the ploughman as "not an important failure".The painting is also the subject of the Titus Andronicus song "Upon Viewing Bruegel's Landscape with the Fall of Icarus":In the painting from the original song, in the corner, you see this tiny guy falling into the ocean. It's been interpreted as: It's a big world, and people go about their business, and little tragedies are happening all the time, and what are you going to do? — Patrick Stickles, Titus AndronicusThe painting appears in a background of the music video for the song Blood Sweat & Tears by South Korean group BTS. The video opens in a museum with another Bruegel painting, "The Fall of the Rebel Angels" featured prominently.

Category:Paintings in the Musée Oldmasters

File:Fall of Icarus - Brueghel -Museum van Buuren.jpg

''Landscape with The Fall of Icarus'', ca. 1590–95, oil  on wood ({{convert

cm}}), Circle of P. Bruegel the Elder, [[Museum van Buuren

Landscape with the Fall of Icarus (poem)

Coltrane Gilman and Michael Gnat* in front of Bruegel's painting. ''Round Went the Wheel'' by Frank Ceruzzi; directed by Janet Bentley. Broadway Bound Festival 2019. Photo: Emily Hewitt. (*Appears courtesy of Actors' Equity Association.)

File:Der Sturz des Ikarus (Ausschnitt).jpg

Category:Paintings by Pieter Bruegel the Elder

Category:Paintings based on Metamorphoses


The Musicians (Caravaggio)

Prompt: Focus on The Musicians (Caravaggio) and explain the abstract.

The Musicians or Concert of Youths (c. 1595) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610). The work was commissioned by Cardinal Francesco Maria del Monte, who had an avid interest in music. It is one of Caravaggio’s more complex paintings, with four figures that were likely painted from life.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the abstract of this artwork, The Musicians (Caravaggio).

The Musicians or Concert of Youths (c. 1595) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610). The work was commissioned by Cardinal Francesco Maria del Monte, who had an avid interest in music. It is one of Caravaggio’s more complex paintings, with four figures that were likely painted from life.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: How does The Musicians (Caravaggio) explain its abstract?

The Musicians or Concert of Youths (c. 1595) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610). The work was commissioned by Cardinal Francesco Maria del Monte, who had an avid interest in music. It is one of Caravaggio’s more complex paintings, with four figures that were likely painted from life.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the abstract discussed?

The Musicians or Concert of Youths (c. 1595) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610). The work was commissioned by Cardinal Francesco Maria del Monte, who had an avid interest in music. It is one of Caravaggio’s more complex paintings, with four figures that were likely painted from life.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Focus on The Musicians (Caravaggio) and explain the Patron.

Caravaggio entered the household of Cardinal Francesco Maria Del Monte sometime in 1595, and The Musicians is thought to have been his first painting done expressly for the cardinal. His biographer, the painter Baglione, says he "painted for the Cardinal, youths playing music very well drawn from nature and also a youth playing a lute," the latter presumably being The Lute Player, which seems to form a companion-piece to The Musicians.Cardinal Del Monte owned various expensive musical instruments, which Caravaggio could use as models in his works for the wealthy patron.Cardinal del Monte's impact on Caravaggio's artistic career during its early stages has been heavily studied due to his significant involvement as a supporter. Furthermore, his preference for particular artists, such as Andrea Sacchi, and active participation in the Accademia di San Luca are commonly recognized.Del Monte's strong enthusiasm for music was viewed as a vital aspect of education for Renaissance individuals of high social status. According to a sixteenth-century manuscript detailing the life of a respected Italian nobleman and soldier, music was deemed necessary for aristocratic behavior. This would provide motivation for commissioning art and helping Caravaggio become immersed in the Baroque scene of music. The impact of del Monte's commissions would create an outlet for Caravaggio to gain first-hand experience in scenes often meant for the aristocracy to enjoy. Giving Caravaggio this perspective provided an accurate source for rendering and capturing the moods and emotions attached to the baroque movement and music.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Patron of this artwork, The Musicians (Caravaggio).

Caravaggio entered the household of Cardinal Francesco Maria Del Monte sometime in 1595, and The Musicians is thought to have been his first painting done expressly for the cardinal. His biographer, the painter Baglione, says he "painted for the Cardinal, youths playing music very well drawn from nature and also a youth playing a lute," the latter presumably being The Lute Player, which seems to form a companion-piece to The Musicians.Cardinal Del Monte owned various expensive musical instruments, which Caravaggio could use as models in his works for the wealthy patron.Cardinal del Monte's impact on Caravaggio's artistic career during its early stages has been heavily studied due to his significant involvement as a supporter. Furthermore, his preference for particular artists, such as Andrea Sacchi, and active participation in the Accademia di San Luca are commonly recognized.Del Monte's strong enthusiasm for music was viewed as a vital aspect of education for Renaissance individuals of high social status. According to a sixteenth-century manuscript detailing the life of a respected Italian nobleman and soldier, music was deemed necessary for aristocratic behavior. This would provide motivation for commissioning art and helping Caravaggio become immersed in the Baroque scene of music. The impact of del Monte's commissions would create an outlet for Caravaggio to gain first-hand experience in scenes often meant for the aristocracy to enjoy. Giving Caravaggio this perspective provided an accurate source for rendering and capturing the moods and emotions attached to the baroque movement and music.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: How does The Musicians (Caravaggio) explain its Patron?

Caravaggio entered the household of Cardinal Francesco Maria Del Monte sometime in 1595, and The Musicians is thought to have been his first painting done expressly for the cardinal. His biographer, the painter Baglione, says he "painted for the Cardinal, youths playing music very well drawn from nature and also a youth playing a lute," the latter presumably being The Lute Player, which seems to form a companion-piece to The Musicians.Cardinal Del Monte owned various expensive musical instruments, which Caravaggio could use as models in his works for the wealthy patron.Cardinal del Monte's impact on Caravaggio's artistic career during its early stages has been heavily studied due to his significant involvement as a supporter. Furthermore, his preference for particular artists, such as Andrea Sacchi, and active participation in the Accademia di San Luca are commonly recognized.Del Monte's strong enthusiasm for music was viewed as a vital aspect of education for Renaissance individuals of high social status. According to a sixteenth-century manuscript detailing the life of a respected Italian nobleman and soldier, music was deemed necessary for aristocratic behavior. This would provide motivation for commissioning art and helping Caravaggio become immersed in the Baroque scene of music. The impact of del Monte's commissions would create an outlet for Caravaggio to gain first-hand experience in scenes often meant for the aristocracy to enjoy. Giving Caravaggio this perspective provided an accurate source for rendering and capturing the moods and emotions attached to the baroque movement and music.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Patron discussed?

Caravaggio entered the household of Cardinal Francesco Maria Del Monte sometime in 1595, and The Musicians is thought to have been his first painting done expressly for the cardinal. His biographer, the painter Baglione, says he "painted for the Cardinal, youths playing music very well drawn from nature and also a youth playing a lute," the latter presumably being The Lute Player, which seems to form a companion-piece to The Musicians.Cardinal Del Monte owned various expensive musical instruments, which Caravaggio could use as models in his works for the wealthy patron.Cardinal del Monte's impact on Caravaggio's artistic career during its early stages has been heavily studied due to his significant involvement as a supporter. Furthermore, his preference for particular artists, such as Andrea Sacchi, and active participation in the Accademia di San Luca are commonly recognized.Del Monte's strong enthusiasm for music was viewed as a vital aspect of education for Renaissance individuals of high social status. According to a sixteenth-century manuscript detailing the life of a respected Italian nobleman and soldier, music was deemed necessary for aristocratic behavior. This would provide motivation for commissioning art and helping Caravaggio become immersed in the Baroque scene of music. The impact of del Monte's commissions would create an outlet for Caravaggio to gain first-hand experience in scenes often meant for the aristocracy to enjoy. Giving Caravaggio this perspective provided an accurate source for rendering and capturing the moods and emotions attached to the baroque movement and music.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In the context of The Musicians (Caravaggio), explain the Provenance and the Patron.

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Provenance about the Patron of this artwork, The Musicians (Caravaggio).

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Provenance of the Patron explained?

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Describe the characteristics of the Provenance in The Musicians (Caravaggio)'s Patron.

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Focus on The Musicians (Caravaggio) and explain the Description & Interpretations.

The picture displays four boys in classical costume (Greek or Roman robes): three figures playing various musical instruments or singing and the fourth dressed as Cupid and reaching towards some grapes. The picture is an allegory relating music to the sustenance of love in the same way that food is the sustenance of life. This was one of Caravaggio's more challenging compositions and the artist placed the four figures closely together within the small space of the canvas—the placement of the figures in the composition display a relaxed front and back formation of the male subjects. The painting was in poor condition, and the music in the manuscript has been badly damaged by past restorations, although a tenor and an alto part can be made out. Andrew Graham-Dixon notes that despite this damage, the work's originality remains undimmed.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Description & Interpretations of this artwork, The Musicians (Caravaggio).

The picture displays four boys in classical costume (Greek or Roman robes): three figures playing various musical instruments or singing and the fourth dressed as Cupid and reaching towards some grapes. The picture is an allegory relating music to the sustenance of love in the same way that food is the sustenance of life. This was one of Caravaggio's more challenging compositions and the artist placed the four figures closely together within the small space of the canvas—the placement of the figures in the composition display a relaxed front and back formation of the male subjects. The painting was in poor condition, and the music in the manuscript has been badly damaged by past restorations, although a tenor and an alto part can be made out. Andrew Graham-Dixon notes that despite this damage, the work's originality remains undimmed.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: How does The Musicians (Caravaggio) explain its Description & Interpretations?

The picture displays four boys in classical costume (Greek or Roman robes): three figures playing various musical instruments or singing and the fourth dressed as Cupid and reaching towards some grapes. The picture is an allegory relating music to the sustenance of love in the same way that food is the sustenance of life. This was one of Caravaggio's more challenging compositions and the artist placed the four figures closely together within the small space of the canvas—the placement of the figures in the composition display a relaxed front and back formation of the male subjects. The painting was in poor condition, and the music in the manuscript has been badly damaged by past restorations, although a tenor and an alto part can be made out. Andrew Graham-Dixon notes that despite this damage, the work's originality remains undimmed.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Description & Interpretations discussed?

The picture displays four boys in classical costume (Greek or Roman robes): three figures playing various musical instruments or singing and the fourth dressed as Cupid and reaching towards some grapes. The picture is an allegory relating music to the sustenance of love in the same way that food is the sustenance of life. This was one of Caravaggio's more challenging compositions and the artist placed the four figures closely together within the small space of the canvas—the placement of the figures in the composition display a relaxed front and back formation of the male subjects. The painting was in poor condition, and the music in the manuscript has been badly damaged by past restorations, although a tenor and an alto part can be made out. Andrew Graham-Dixon notes that despite this damage, the work's originality remains undimmed.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In the context of The Musicians (Caravaggio), explain the Iconography and Symbolism and the Description & Interpretations.

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Iconography and Symbolism about the Description & Interpretations of this artwork, The Musicians (Caravaggio).

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Iconography and Symbolism of the Description & Interpretations explained?

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Describe the characteristics of the Iconography and Symbolism in The Musicians (Caravaggio)'s Description & Interpretations.

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In the context of The Musicians (Caravaggio), explain the Identity of the Figures and the Description & Interpretations.

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. The Cupid bears resemblance to the boy in Boy Peeling Fruit, done a few years before, and also to the angel in Saint Francis of Assisi in Ecstasy.The individuals who modeled for Caravaggio were essential to his artwork. The depictions he created from live models maintained the unique features of each individual even when portraying characters from biblical or mythological stories. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Identity of the Figures about the Description & Interpretations of this artwork, The Musicians (Caravaggio).

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. The Cupid bears resemblance to the boy in Boy Peeling Fruit, done a few years before, and also to the angel in Saint Francis of Assisi in Ecstasy.The individuals who modeled for Caravaggio were essential to his artwork. The depictions he created from live models maintained the unique features of each individual even when portraying characters from biblical or mythological stories. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Identity of the Figures of the Description & Interpretations explained?

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. The Cupid bears resemblance to the boy in Boy Peeling Fruit, done a few years before, and also to the angel in Saint Francis of Assisi in Ecstasy.The individuals who modeled for Caravaggio were essential to his artwork. The depictions he created from live models maintained the unique features of each individual even when portraying characters from biblical or mythological stories. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Describe the characteristics of the Identity of the Figures in The Musicians (Caravaggio)'s Description & Interpretations.

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. The Cupid bears resemblance to the boy in Boy Peeling Fruit, done a few years before, and also to the angel in Saint Francis of Assisi in Ecstasy.The individuals who modeled for Caravaggio were essential to his artwork. The depictions he created from live models maintained the unique features of each individual even when portraying characters from biblical or mythological stories. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Focus on The Musicians (Caravaggio) and explain the Historical Context.

Scenes showing musicians were a popular theme at the time—the Church was supporting a revival of music and new styles and forms were being tried, especially by educated and progressive prelates such as Del Monte. This scene, however, is clearly secular rather than religious, and harks back to the long-established tradition of "concert" pictures, a genre originating in Venice and exemplified in its earlier form by Titian's Le concert champêtre.This painting falls into the period of Baroque art, which had a rich relationship with theater and music. Music and concerts became entertainment for people belonging to upper classes, like the aristocracy or people who held a high position or rank. Going to the opera or being able to view a live concert was very popular during the Baroque Period.The notion that experiencing various moods through music can promote emotional stability and overall well-being was widely held at this time. This is important in the painting; the mood and emotions conveyed on the face of the centered figure speaks largely to the importance of Baroque music. The rendering of instruments in the piece and the music sheets displayed are indicators of Caravaggio's ability to depict the important changes taking place within music and Cardinal del Monte's love for the emotion in Baroque music.The importance of music was vital and created a pathway for Caravaggio to navigate Baroque music with the help of del Monte. Music proved to be important to both artist and patron when it came to artistic rendering due to the movement ability to showcase the patrons wealth and interests when he hosted visitors in his home. When visitors saw this painting or others including The Lute Player, it would speak largely to the Cardinal's taste, wealth and interests. This also bolstered Caravaggio in the genre of paintings of music and benefited his career.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Historical Context of this artwork, The Musicians (Caravaggio).

Scenes showing musicians were a popular theme at the time—the Church was supporting a revival of music and new styles and forms were being tried, especially by educated and progressive prelates such as Del Monte. This scene, however, is clearly secular rather than religious, and harks back to the long-established tradition of "concert" pictures, a genre originating in Venice and exemplified in its earlier form by Titian's Le concert champêtre.This painting falls into the period of Baroque art, which had a rich relationship with theater and music. Music and concerts became entertainment for people belonging to upper classes, like the aristocracy or people who held a high position or rank. Going to the opera or being able to view a live concert was very popular during the Baroque Period.The notion that experiencing various moods through music can promote emotional stability and overall well-being was widely held at this time. This is important in the painting; the mood and emotions conveyed on the face of the centered figure speaks largely to the importance of Baroque music. The rendering of instruments in the piece and the music sheets displayed are indicators of Caravaggio's ability to depict the important changes taking place within music and Cardinal del Monte's love for the emotion in Baroque music.The importance of music was vital and created a pathway for Caravaggio to navigate Baroque music with the help of del Monte. Music proved to be important to both artist and patron when it came to artistic rendering due to the movement ability to showcase the patrons wealth and interests when he hosted visitors in his home. When visitors saw this painting or others including The Lute Player, it would speak largely to the Cardinal's taste, wealth and interests. This also bolstered Caravaggio in the genre of paintings of music and benefited his career.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: How does The Musicians (Caravaggio) explain its Historical Context?

Scenes showing musicians were a popular theme at the time—the Church was supporting a revival of music and new styles and forms were being tried, especially by educated and progressive prelates such as Del Monte. This scene, however, is clearly secular rather than religious, and harks back to the long-established tradition of "concert" pictures, a genre originating in Venice and exemplified in its earlier form by Titian's Le concert champêtre.This painting falls into the period of Baroque art, which had a rich relationship with theater and music. Music and concerts became entertainment for people belonging to upper classes, like the aristocracy or people who held a high position or rank. Going to the opera or being able to view a live concert was very popular during the Baroque Period.The notion that experiencing various moods through music can promote emotional stability and overall well-being was widely held at this time. This is important in the painting; the mood and emotions conveyed on the face of the centered figure speaks largely to the importance of Baroque music. The rendering of instruments in the piece and the music sheets displayed are indicators of Caravaggio's ability to depict the important changes taking place within music and Cardinal del Monte's love for the emotion in Baroque music.The importance of music was vital and created a pathway for Caravaggio to navigate Baroque music with the help of del Monte. Music proved to be important to both artist and patron when it came to artistic rendering due to the movement ability to showcase the patrons wealth and interests when he hosted visitors in his home. When visitors saw this painting or others including The Lute Player, it would speak largely to the Cardinal's taste, wealth and interests. This also bolstered Caravaggio in the genre of paintings of music and benefited his career.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Historical Context discussed?

Scenes showing musicians were a popular theme at the time—the Church was supporting a revival of music and new styles and forms were being tried, especially by educated and progressive prelates such as Del Monte. This scene, however, is clearly secular rather than religious, and harks back to the long-established tradition of "concert" pictures, a genre originating in Venice and exemplified in its earlier form by Titian's Le concert champêtre.This painting falls into the period of Baroque art, which had a rich relationship with theater and music. Music and concerts became entertainment for people belonging to upper classes, like the aristocracy or people who held a high position or rank. Going to the opera or being able to view a live concert was very popular during the Baroque Period.The notion that experiencing various moods through music can promote emotional stability and overall well-being was widely held at this time. This is important in the painting; the mood and emotions conveyed on the face of the centered figure speaks largely to the importance of Baroque music. The rendering of instruments in the piece and the music sheets displayed are indicators of Caravaggio's ability to depict the important changes taking place within music and Cardinal del Monte's love for the emotion in Baroque music.The importance of music was vital and created a pathway for Caravaggio to navigate Baroque music with the help of del Monte. Music proved to be important to both artist and patron when it came to artistic rendering due to the movement ability to showcase the patrons wealth and interests when he hosted visitors in his home. When visitors saw this painting or others including The Lute Player, it would speak largely to the Cardinal's taste, wealth and interests. This also bolstered Caravaggio in the genre of paintings of music and benefited his career.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Focus on The Musicians (Caravaggio) and explain the Recovering Lost Fictions.

A project that took place in 1997, by contemporary artists Kathleen Gilje and Joseph Grigely. Their project explored the history of this piece, and revealed information through X-rays and research of another history of the painting not previously known. Their work reveals that there was more than one copy of this painting, It also conveys the relationship between the first and second painting. Their research also explored the x-rays taken of Del Monte's version, which revealed Caravaggio had painted over an original scene that is described as an incident between the musicians. The project also included an installation created by the artists that displayed their research and resources such as x-rays, monographs and records related to the restoration of the painting. The installation was placed alongside the painting for its exhibition that ran from October 9 to December 28 of 1997.This project was also accompanied by a publication of the book Recovering lost fictions: Caravaggio's Musicians. The book was published by MIT List Visual Arts Center in 1997 and includes one essay by Joseph Grigely.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Recovering Lost Fictions of this artwork, The Musicians (Caravaggio).

A project that took place in 1997, by contemporary artists Kathleen Gilje and Joseph Grigely. Their project explored the history of this piece, and revealed information through X-rays and research of another history of the painting not previously known. Their work reveals that there was more than one copy of this painting, It also conveys the relationship between the first and second painting. Their research also explored the x-rays taken of Del Monte's version, which revealed Caravaggio had painted over an original scene that is described as an incident between the musicians. The project also included an installation created by the artists that displayed their research and resources such as x-rays, monographs and records related to the restoration of the painting. The installation was placed alongside the painting for its exhibition that ran from October 9 to December 28 of 1997.This project was also accompanied by a publication of the book Recovering lost fictions: Caravaggio's Musicians. The book was published by MIT List Visual Arts Center in 1997 and includes one essay by Joseph Grigely.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: How does The Musicians (Caravaggio) explain its Recovering Lost Fictions?

A project that took place in 1997, by contemporary artists Kathleen Gilje and Joseph Grigely. Their project explored the history of this piece, and revealed information through X-rays and research of another history of the painting not previously known. Their work reveals that there was more than one copy of this painting, It also conveys the relationship between the first and second painting. Their research also explored the x-rays taken of Del Monte's version, which revealed Caravaggio had painted over an original scene that is described as an incident between the musicians. The project also included an installation created by the artists that displayed their research and resources such as x-rays, monographs and records related to the restoration of the painting. The installation was placed alongside the painting for its exhibition that ran from October 9 to December 28 of 1997.This project was also accompanied by a publication of the book Recovering lost fictions: Caravaggio's Musicians. The book was published by MIT List Visual Arts Center in 1997 and includes one essay by Joseph Grigely.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Recovering Lost Fictions discussed?

A project that took place in 1997, by contemporary artists Kathleen Gilje and Joseph Grigely. Their project explored the history of this piece, and revealed information through X-rays and research of another history of the painting not previously known. Their work reveals that there was more than one copy of this painting, It also conveys the relationship between the first and second painting. Their research also explored the x-rays taken of Del Monte's version, which revealed Caravaggio had painted over an original scene that is described as an incident between the musicians. The project also included an installation created by the artists that displayed their research and resources such as x-rays, monographs and records related to the restoration of the painting. The installation was placed alongside the painting for its exhibition that ran from October 9 to December 28 of 1997.This project was also accompanied by a publication of the book Recovering lost fictions: Caravaggio's Musicians. The book was published by MIT List Visual Arts Center in 1997 and includes one essay by Joseph Grigely.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Focus on The Musicians (Caravaggio) and explain the Loan to Australia.

During the COVID-19 pandemic, the museum began a skylight replacement project that resulted in gallery closures, in response the Met loaned major works from the European collection, including 'The Musicians', to Qagoma in an exhibition titled 'European Masterpieces'.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Loan to Australia of this artwork, The Musicians (Caravaggio).

During the COVID-19 pandemic, the museum began a skylight replacement project that resulted in gallery closures, in response the Met loaned major works from the European collection, including 'The Musicians', to Qagoma in an exhibition titled 'European Masterpieces'.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: How does The Musicians (Caravaggio) explain its Loan to Australia?

During the COVID-19 pandemic, the museum began a skylight replacement project that resulted in gallery closures, in response the Met loaned major works from the European collection, including 'The Musicians', to Qagoma in an exhibition titled 'European Masterpieces'.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Loan to Australia discussed?

During the COVID-19 pandemic, the museum began a skylight replacement project that resulted in gallery closures, in response the Met loaned major works from the European collection, including 'The Musicians', to Qagoma in an exhibition titled 'European Masterpieces'.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


View of Delft

Prompt: Focus on View of Delft and explain the abstract.

View of Delft (Dutch: Gezicht op Delft) is an oil painting by Johannes Vermeer, painted c. 1659–1661. The painting of the Dutch artist's hometown is among his best known. It is one of three known paintings of Delft by Vermeer, along with The Little Street and the lost painting House Standing in Delft, and his only cityscape. According to art historian Emma Barker, cityscapes across water, which were popular in the Netherlands at the time, celebrated the city and its trade. Vermeer's View of Delft has been held in the Dutch Royal Cabinet of Paintings at the Mauritshuis in The Hague since its establishment in 1822.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: Explain the abstract of this artwork, View of Delft.

View of Delft (Dutch: Gezicht op Delft) is an oil painting by Johannes Vermeer, painted c. 1659–1661. The painting of the Dutch artist's hometown is among his best known. It is one of three known paintings of Delft by Vermeer, along with The Little Street and the lost painting House Standing in Delft, and his only cityscape. According to art historian Emma Barker, cityscapes across water, which were popular in the Netherlands at the time, celebrated the city and its trade. Vermeer's View of Delft has been held in the Dutch Royal Cabinet of Paintings at the Mauritshuis in The Hague since its establishment in 1822.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: How does View of Delft explain its abstract?

View of Delft (Dutch: Gezicht op Delft) is an oil painting by Johannes Vermeer, painted c. 1659–1661. The painting of the Dutch artist's hometown is among his best known. It is one of three known paintings of Delft by Vermeer, along with The Little Street and the lost painting House Standing in Delft, and his only cityscape. According to art historian Emma Barker, cityscapes across water, which were popular in the Netherlands at the time, celebrated the city and its trade. Vermeer's View of Delft has been held in the Dutch Royal Cabinet of Paintings at the Mauritshuis in The Hague since its establishment in 1822.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: In View of Delft, how is the abstract discussed?

View of Delft (Dutch: Gezicht op Delft) is an oil painting by Johannes Vermeer, painted c. 1659–1661. The painting of the Dutch artist's hometown is among his best known. It is one of three known paintings of Delft by Vermeer, along with The Little Street and the lost painting House Standing in Delft, and his only cityscape. According to art historian Emma Barker, cityscapes across water, which were popular in the Netherlands at the time, celebrated the city and its trade. Vermeer's View of Delft has been held in the Dutch Royal Cabinet of Paintings at the Mauritshuis in The Hague since its establishment in 1822.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: Focus on View of Delft and explain the Description.

A technical analysis shows that Vermeer used calcite, lead white, yellow ochre, natural ultramarine, and madder lake pigments.The landscape was painted from an elevated position to the southeast of Delft, possibly the upper floor of the Mechelen tavern where the artist's studio was located. To the very right of the painting is a medieval brick building called the Rotterdam Gate, in front of which are two herring busses. It is one of two gates on Delft's south side, the other being the Schiedam Gate, shown in the middle of the composition. There is a bridge between the Rotterdam Gate and the Schiedam Gate, which has a clock on its roof. Behind the Schiedam Gate is a long red-roofed arsenal now known as the Legermuseum. The buildings are reflected in the calm harbour of the river Schie, which was colloquially known as the Kolk (pond).On the lower left side of the painting, five people are waiting to board a passenger barge to take them to Rotterdam, Schiedam, or Delfshaven. The passenger barge was pulled by a horse and could hold up to thirty people. Vermeer painted his initials, VM, on the red interior of the barge. To the barge's right are two women talking to each other. Vermeer originally painted a third person next to them, but later changed his mind and painted him out.Behind the Rotterdam Gate is the illuminated spire of the Nieuwe Kerk. In reality, the Nieuwe Kerk would be positioned more toward the right, but Vermeer depicted it closer to the center to make it more prominent. There are no bells in the tower in this painting as those would not be added to the church until after the painting was completed in 1661. The Nieuwe Kerk was where Vermeer was baptized at one to two weeks old, and where his mother and elder sister were buried. In the background is the top of the tower of the Oude Kerk ("Old Church") which was built around 1246, making it Delft's oldest parish church. Vermeer is buried there.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: Explain the Description of this artwork, View of Delft.

A technical analysis shows that Vermeer used calcite, lead white, yellow ochre, natural ultramarine, and madder lake pigments.The landscape was painted from an elevated position to the southeast of Delft, possibly the upper floor of the Mechelen tavern where the artist's studio was located. To the very right of the painting is a medieval brick building called the Rotterdam Gate, in front of which are two herring busses. It is one of two gates on Delft's south side, the other being the Schiedam Gate, shown in the middle of the composition. There is a bridge between the Rotterdam Gate and the Schiedam Gate, which has a clock on its roof. Behind the Schiedam Gate is a long red-roofed arsenal now known as the Legermuseum. The buildings are reflected in the calm harbour of the river Schie, which was colloquially known as the Kolk (pond).On the lower left side of the painting, five people are waiting to board a passenger barge to take them to Rotterdam, Schiedam, or Delfshaven. The passenger barge was pulled by a horse and could hold up to thirty people. Vermeer painted his initials, VM, on the red interior of the barge. To the barge's right are two women talking to each other. Vermeer originally painted a third person next to them, but later changed his mind and painted him out.Behind the Rotterdam Gate is the illuminated spire of the Nieuwe Kerk. In reality, the Nieuwe Kerk would be positioned more toward the right, but Vermeer depicted it closer to the center to make it more prominent. There are no bells in the tower in this painting as those would not be added to the church until after the painting was completed in 1661. The Nieuwe Kerk was where Vermeer was baptized at one to two weeks old, and where his mother and elder sister were buried. In the background is the top of the tower of the Oude Kerk ("Old Church") which was built around 1246, making it Delft's oldest parish church. Vermeer is buried there.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: How does View of Delft explain its Description?

A technical analysis shows that Vermeer used calcite, lead white, yellow ochre, natural ultramarine, and madder lake pigments.The landscape was painted from an elevated position to the southeast of Delft, possibly the upper floor of the Mechelen tavern where the artist's studio was located. To the very right of the painting is a medieval brick building called the Rotterdam Gate, in front of which are two herring busses. It is one of two gates on Delft's south side, the other being the Schiedam Gate, shown in the middle of the composition. There is a bridge between the Rotterdam Gate and the Schiedam Gate, which has a clock on its roof. Behind the Schiedam Gate is a long red-roofed arsenal now known as the Legermuseum. The buildings are reflected in the calm harbour of the river Schie, which was colloquially known as the Kolk (pond).On the lower left side of the painting, five people are waiting to board a passenger barge to take them to Rotterdam, Schiedam, or Delfshaven. The passenger barge was pulled by a horse and could hold up to thirty people. Vermeer painted his initials, VM, on the red interior of the barge. To the barge's right are two women talking to each other. Vermeer originally painted a third person next to them, but later changed his mind and painted him out.Behind the Rotterdam Gate is the illuminated spire of the Nieuwe Kerk. In reality, the Nieuwe Kerk would be positioned more toward the right, but Vermeer depicted it closer to the center to make it more prominent. There are no bells in the tower in this painting as those would not be added to the church until after the painting was completed in 1661. The Nieuwe Kerk was where Vermeer was baptized at one to two weeks old, and where his mother and elder sister were buried. In the background is the top of the tower of the Oude Kerk ("Old Church") which was built around 1246, making it Delft's oldest parish church. Vermeer is buried there.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: In View of Delft, how is the Description discussed?

A technical analysis shows that Vermeer used calcite, lead white, yellow ochre, natural ultramarine, and madder lake pigments.The landscape was painted from an elevated position to the southeast of Delft, possibly the upper floor of the Mechelen tavern where the artist's studio was located. To the very right of the painting is a medieval brick building called the Rotterdam Gate, in front of which are two herring busses. It is one of two gates on Delft's south side, the other being the Schiedam Gate, shown in the middle of the composition. There is a bridge between the Rotterdam Gate and the Schiedam Gate, which has a clock on its roof. Behind the Schiedam Gate is a long red-roofed arsenal now known as the Legermuseum. The buildings are reflected in the calm harbour of the river Schie, which was colloquially known as the Kolk (pond).On the lower left side of the painting, five people are waiting to board a passenger barge to take them to Rotterdam, Schiedam, or Delfshaven. The passenger barge was pulled by a horse and could hold up to thirty people. Vermeer painted his initials, VM, on the red interior of the barge. To the barge's right are two women talking to each other. Vermeer originally painted a third person next to them, but later changed his mind and painted him out.Behind the Rotterdam Gate is the illuminated spire of the Nieuwe Kerk. In reality, the Nieuwe Kerk would be positioned more toward the right, but Vermeer depicted it closer to the center to make it more prominent. There are no bells in the tower in this painting as those would not be added to the church until after the painting was completed in 1661. The Nieuwe Kerk was where Vermeer was baptized at one to two weeks old, and where his mother and elder sister were buried. In the background is the top of the tower of the Oude Kerk ("Old Church") which was built around 1246, making it Delft's oldest parish church. Vermeer is buried there.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: Focus on View of Delft and explain the Camera obscura.

Historians have hotly debated whether or not Vermeer used a camera obscura. A camera obscura, meaning "dark chamber," was a closed room with a small hole covered with a convex lens through which light could pass, casting a reverse image onto the wall that the artist could then trace. There is no documentary evidence that Vermeer used a camera obscura, but there are several clues that could point to its usage. In The Officer and the Laughing Girl, the man appears to be significantly larger than the woman, which could be a result of using a camera obscura. Another piece of evidence pointing to Vermeer's use of a camera obscura is his detailed maps, which would be very difficult to reproduce without the aid of optical technology. Other artists were known to use a camera obscura for this very purpose. A third piece of evidence is found in Girl with a Red Hat. Without a camera obscura, the light on the lions' heads would be rectangular, as the light would be coming from a window with rectangular panes, but Vermeer has painted the light as circles, an effect that would be created by viewing the image through a lens. Because of the diffused highlights painted on the buildings and in the water, art historian Arthur K. Wheelock, Jr. believes that Vermeer did use a camera obscura to create View of Delft. Other historians are not as convinced. Art historian Karl Schütz insists that Vermeer never used a camera obscura in any painting.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: Explain the Camera obscura of this artwork, View of Delft.

Historians have hotly debated whether or not Vermeer used a camera obscura. A camera obscura, meaning "dark chamber," was a closed room with a small hole covered with a convex lens through which light could pass, casting a reverse image onto the wall that the artist could then trace. There is no documentary evidence that Vermeer used a camera obscura, but there are several clues that could point to its usage. In The Officer and the Laughing Girl, the man appears to be significantly larger than the woman, which could be a result of using a camera obscura. Another piece of evidence pointing to Vermeer's use of a camera obscura is his detailed maps, which would be very difficult to reproduce without the aid of optical technology. Other artists were known to use a camera obscura for this very purpose. A third piece of evidence is found in Girl with a Red Hat. Without a camera obscura, the light on the lions' heads would be rectangular, as the light would be coming from a window with rectangular panes, but Vermeer has painted the light as circles, an effect that would be created by viewing the image through a lens. Because of the diffused highlights painted on the buildings and in the water, art historian Arthur K. Wheelock, Jr. believes that Vermeer did use a camera obscura to create View of Delft. Other historians are not as convinced. Art historian Karl Schütz insists that Vermeer never used a camera obscura in any painting.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: How does View of Delft explain its Camera obscura?

Historians have hotly debated whether or not Vermeer used a camera obscura. A camera obscura, meaning "dark chamber," was a closed room with a small hole covered with a convex lens through which light could pass, casting a reverse image onto the wall that the artist could then trace. There is no documentary evidence that Vermeer used a camera obscura, but there are several clues that could point to its usage. In The Officer and the Laughing Girl, the man appears to be significantly larger than the woman, which could be a result of using a camera obscura. Another piece of evidence pointing to Vermeer's use of a camera obscura is his detailed maps, which would be very difficult to reproduce without the aid of optical technology. Other artists were known to use a camera obscura for this very purpose. A third piece of evidence is found in Girl with a Red Hat. Without a camera obscura, the light on the lions' heads would be rectangular, as the light would be coming from a window with rectangular panes, but Vermeer has painted the light as circles, an effect that would be created by viewing the image through a lens. Because of the diffused highlights painted on the buildings and in the water, art historian Arthur K. Wheelock, Jr. believes that Vermeer did use a camera obscura to create View of Delft. Other historians are not as convinced. Art historian Karl Schütz insists that Vermeer never used a camera obscura in any painting.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: In View of Delft, how is the Camera obscura discussed?

Historians have hotly debated whether or not Vermeer used a camera obscura. A camera obscura, meaning "dark chamber," was a closed room with a small hole covered with a convex lens through which light could pass, casting a reverse image onto the wall that the artist could then trace. There is no documentary evidence that Vermeer used a camera obscura, but there are several clues that could point to its usage. In The Officer and the Laughing Girl, the man appears to be significantly larger than the woman, which could be a result of using a camera obscura. Another piece of evidence pointing to Vermeer's use of a camera obscura is his detailed maps, which would be very difficult to reproduce without the aid of optical technology. Other artists were known to use a camera obscura for this very purpose. A third piece of evidence is found in Girl with a Red Hat. Without a camera obscura, the light on the lions' heads would be rectangular, as the light would be coming from a window with rectangular panes, but Vermeer has painted the light as circles, an effect that would be created by viewing the image through a lens. Because of the diffused highlights painted on the buildings and in the water, art historian Arthur K. Wheelock, Jr. believes that Vermeer did use a camera obscura to create View of Delft. Other historians are not as convinced. Art historian Karl Schütz insists that Vermeer never used a camera obscura in any painting.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: Focus on View of Delft and explain the Political interpretation.

Vermeer's illumination of the Nieuwe Kerk shows his support (or his patron's support) for the House of Orange. From 1648–1650, William II of Orange and the States General argued over whether or not to reduce the country's military budget. William II wanted to keep the soldiers who had fought in the war against the Spanish in case they decided to attack again, but the States General felt that the country was already in too much debt to afford a military. Dutch society was split into two factions – those who supported the House of Orange, and those who supported the States General. After William II died and the States General assumed power, people who wanted to show support for the House of Orange commissioned artwork of William of Orange's tomb, which was housed in the Nieuwe Kerk. The Niewe Kerk is brightly illuminated in View of Delft to show support for the Dutch monarchy.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: Explain the Political interpretation of this artwork, View of Delft.

Vermeer's illumination of the Nieuwe Kerk shows his support (or his patron's support) for the House of Orange. From 1648–1650, William II of Orange and the States General argued over whether or not to reduce the country's military budget. William II wanted to keep the soldiers who had fought in the war against the Spanish in case they decided to attack again, but the States General felt that the country was already in too much debt to afford a military. Dutch society was split into two factions – those who supported the House of Orange, and those who supported the States General. After William II died and the States General assumed power, people who wanted to show support for the House of Orange commissioned artwork of William of Orange's tomb, which was housed in the Nieuwe Kerk. The Niewe Kerk is brightly illuminated in View of Delft to show support for the Dutch monarchy.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: How does View of Delft explain its Political interpretation?

Vermeer's illumination of the Nieuwe Kerk shows his support (or his patron's support) for the House of Orange. From 1648–1650, William II of Orange and the States General argued over whether or not to reduce the country's military budget. William II wanted to keep the soldiers who had fought in the war against the Spanish in case they decided to attack again, but the States General felt that the country was already in too much debt to afford a military. Dutch society was split into two factions – those who supported the House of Orange, and those who supported the States General. After William II died and the States General assumed power, people who wanted to show support for the House of Orange commissioned artwork of William of Orange's tomb, which was housed in the Nieuwe Kerk. The Niewe Kerk is brightly illuminated in View of Delft to show support for the Dutch monarchy.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: In View of Delft, how is the Political interpretation discussed?

Vermeer's illumination of the Nieuwe Kerk shows his support (or his patron's support) for the House of Orange. From 1648–1650, William II of Orange and the States General argued over whether or not to reduce the country's military budget. William II wanted to keep the soldiers who had fought in the war against the Spanish in case they decided to attack again, but the States General felt that the country was already in too much debt to afford a military. Dutch society was split into two factions – those who supported the House of Orange, and those who supported the States General. After William II died and the States General assumed power, people who wanted to show support for the House of Orange commissioned artwork of William of Orange's tomb, which was housed in the Nieuwe Kerk. The Niewe Kerk is brightly illuminated in View of Delft to show support for the Dutch monarchy.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: Focus on View of Delft and explain the Comparison with other paintings.

Delft was also painted by Hendrick Cornelisz Vroom in View of Delft from the North-west and View of Delft from the South-west (1615), Carel Fabritius in A View of Delft (1652), Egbert van der Poel in View of Delft Explosion of 1654 (after the explosion of 1654), and Pieter Wouwerman in View of the horse market in Delft (1665). Vroom was most known for his seascapes, which is why his views of Delft focus on the river Schie rather than the buildings of the town. Like Vermeer's painting, Fabritius's A View of Delft features the Nieuwe Kerk. This painting was likely meant to be seen in a perspective box through a peephole as a trompe l'œil (trick of the eye), which would trick the viewer's eye into seeing a three-dimensional view of the street. Van der Poel's painting shows both the Nieuwe Kerk and the Oude Kerk, as well as the chapel of the hospital of St. George. The scene depicts the town after 40,000 kg of gunpowder exploded, killing hundreds of people including Carel Fabritius. Despite the devastation, the two churches still stand. Unlike other paintings of Delft which feature a busy harbour, Vermeer only painted a few boats. Vermeer also painted Delft from the south side instead of the more popular north side, as the south side was the only part of the town where buildings were left untouched by the Delft Thunderclap (explosion).

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: Explain the Comparison with other paintings of this artwork, View of Delft.

Delft was also painted by Hendrick Cornelisz Vroom in View of Delft from the North-west and View of Delft from the South-west (1615), Carel Fabritius in A View of Delft (1652), Egbert van der Poel in View of Delft Explosion of 1654 (after the explosion of 1654), and Pieter Wouwerman in View of the horse market in Delft (1665). Vroom was most known for his seascapes, which is why his views of Delft focus on the river Schie rather than the buildings of the town. Like Vermeer's painting, Fabritius's A View of Delft features the Nieuwe Kerk. This painting was likely meant to be seen in a perspective box through a peephole as a trompe l'œil (trick of the eye), which would trick the viewer's eye into seeing a three-dimensional view of the street. Van der Poel's painting shows both the Nieuwe Kerk and the Oude Kerk, as well as the chapel of the hospital of St. George. The scene depicts the town after 40,000 kg of gunpowder exploded, killing hundreds of people including Carel Fabritius. Despite the devastation, the two churches still stand. Unlike other paintings of Delft which feature a busy harbour, Vermeer only painted a few boats. Vermeer also painted Delft from the south side instead of the more popular north side, as the south side was the only part of the town where buildings were left untouched by the Delft Thunderclap (explosion).

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: How does View of Delft explain its Comparison with other paintings?

Delft was also painted by Hendrick Cornelisz Vroom in View of Delft from the North-west and View of Delft from the South-west (1615), Carel Fabritius in A View of Delft (1652), Egbert van der Poel in View of Delft Explosion of 1654 (after the explosion of 1654), and Pieter Wouwerman in View of the horse market in Delft (1665). Vroom was most known for his seascapes, which is why his views of Delft focus on the river Schie rather than the buildings of the town. Like Vermeer's painting, Fabritius's A View of Delft features the Nieuwe Kerk. This painting was likely meant to be seen in a perspective box through a peephole as a trompe l'œil (trick of the eye), which would trick the viewer's eye into seeing a three-dimensional view of the street. Van der Poel's painting shows both the Nieuwe Kerk and the Oude Kerk, as well as the chapel of the hospital of St. George. The scene depicts the town after 40,000 kg of gunpowder exploded, killing hundreds of people including Carel Fabritius. Despite the devastation, the two churches still stand. Unlike other paintings of Delft which feature a busy harbour, Vermeer only painted a few boats. Vermeer also painted Delft from the south side instead of the more popular north side, as the south side was the only part of the town where buildings were left untouched by the Delft Thunderclap (explosion).

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg