Prompt: Explain the abstract of this artwork, Adoration of the Magi (Gentile da Fabriano).

The Adoration of the Magi is a painting by the Italian painter Gentile da Fabriano. The work, housed in the Uffizi Gallery in Florence, Italy, is considered his finest work, and has been described as "the culminating work of International Gothic painting".The artwork was commissioned by the famous banker Palla Strozzi and incorporates many notable elements. The choice of materials including the vibrant colors, gold leaf, and silver used in the painting creates a brilliant and attractive effect. Techniques such as lighting, depth, and three-dimensionality are prevalent in the work and were novel for the time. The frame, along with the painting, is a work of art in itself, specifically because of the intricate, Gothic, and ornamental architectural designs incorporated into it. Other elements of the altarpiece draw upon European conceptions, beliefs and imagery about the Orient. Exotic animals such as monkeys, horses, camels, and lions signify the patron's wealth and status, as well as creating an exotic setting relating to the biblical scene of the painting. Arabic imitation script is evident in the artwork, elevating the work's significance in regards to its luxury and exoticism. The clothing worn by the three magi display influences from Orient's luxury textiles with elements such as gold and floral designs that distinguish the three magi and their oriental roots.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: How does Adoration of the Magi (Gentile da Fabriano) explain its abstract?

The Adoration of the Magi is a painting by the Italian painter Gentile da Fabriano. The work, housed in the Uffizi Gallery in Florence, Italy, is considered his finest work, and has been described as "the culminating work of International Gothic painting".The artwork was commissioned by the famous banker Palla Strozzi and incorporates many notable elements. The choice of materials including the vibrant colors, gold leaf, and silver used in the painting creates a brilliant and attractive effect. Techniques such as lighting, depth, and three-dimensionality are prevalent in the work and were novel for the time. The frame, along with the painting, is a work of art in itself, specifically because of the intricate, Gothic, and ornamental architectural designs incorporated into it. Other elements of the altarpiece draw upon European conceptions, beliefs and imagery about the Orient. Exotic animals such as monkeys, horses, camels, and lions signify the patron's wealth and status, as well as creating an exotic setting relating to the biblical scene of the painting. Arabic imitation script is evident in the artwork, elevating the work's significance in regards to its luxury and exoticism. The clothing worn by the three magi display influences from Orient's luxury textiles with elements such as gold and floral designs that distinguish the three magi and their oriental roots.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: In Adoration of the Magi (Gentile da Fabriano), how is the abstract discussed?

The Adoration of the Magi is a painting by the Italian painter Gentile da Fabriano. The work, housed in the Uffizi Gallery in Florence, Italy, is considered his finest work, and has been described as "the culminating work of International Gothic painting".The artwork was commissioned by the famous banker Palla Strozzi and incorporates many notable elements. The choice of materials including the vibrant colors, gold leaf, and silver used in the painting creates a brilliant and attractive effect. Techniques such as lighting, depth, and three-dimensionality are prevalent in the work and were novel for the time. The frame, along with the painting, is a work of art in itself, specifically because of the intricate, Gothic, and ornamental architectural designs incorporated into it. Other elements of the altarpiece draw upon European conceptions, beliefs and imagery about the Orient. Exotic animals such as monkeys, horses, camels, and lions signify the patron's wealth and status, as well as creating an exotic setting relating to the biblical scene of the painting. Arabic imitation script is evident in the artwork, elevating the work's significance in regards to its luxury and exoticism. The clothing worn by the three magi display influences from Orient's luxury textiles with elements such as gold and floral designs that distinguish the three magi and their oriental roots.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: Focus on Adoration of the Magi (Gentile da Fabriano) and explain the Artist, patron, and provenance.

The painting was commissioned by the Florentine literate and patron of the arts Palla Strozzi, at the arrival of the artist in the city in 1420. Palla paid 300 florins for the altarpiece  or about six times the annual salary of a skilled labourer. According to Baldwin, both Palla Strozzi and his father, Onofrio, appear in the painting − Palla as the man in the red hat in the forefront of the painting, and Onofrio as the falcon trainer situated behind the youngest king. According to other opinions, the falcon trainer depicts the commissioner Palla Strozzi with his eldest son Lorenzo to his right. Finished in 1423, the painting was placed in the new chapel of the church of Santa Trinita which Lorenzo Ghiberti was executing in these years.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: Explain the Artist, patron, and provenance of this artwork, Adoration of the Magi (Gentile da Fabriano).

The painting was commissioned by the Florentine literate and patron of the arts Palla Strozzi, at the arrival of the artist in the city in 1420. Palla paid 300 florins for the altarpiece  or about six times the annual salary of a skilled labourer. According to Baldwin, both Palla Strozzi and his father, Onofrio, appear in the painting − Palla as the man in the red hat in the forefront of the painting, and Onofrio as the falcon trainer situated behind the youngest king. According to other opinions, the falcon trainer depicts the commissioner Palla Strozzi with his eldest son Lorenzo to his right. Finished in 1423, the painting was placed in the new chapel of the church of Santa Trinita which Lorenzo Ghiberti was executing in these years.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: How does Adoration of the Magi (Gentile da Fabriano) explain its Artist, patron, and provenance?

The painting was commissioned by the Florentine literate and patron of the arts Palla Strozzi, at the arrival of the artist in the city in 1420. Palla paid 300 florins for the altarpiece  or about six times the annual salary of a skilled labourer. According to Baldwin, both Palla Strozzi and his father, Onofrio, appear in the painting − Palla as the man in the red hat in the forefront of the painting, and Onofrio as the falcon trainer situated behind the youngest king. According to other opinions, the falcon trainer depicts the commissioner Palla Strozzi with his eldest son Lorenzo to his right. Finished in 1423, the painting was placed in the new chapel of the church of Santa Trinita which Lorenzo Ghiberti was executing in these years.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: In Adoration of the Magi (Gentile da Fabriano), how is the Artist, patron, and provenance discussed?

The painting was commissioned by the Florentine literate and patron of the arts Palla Strozzi, at the arrival of the artist in the city in 1420. Palla paid 300 florins for the altarpiece  or about six times the annual salary of a skilled labourer. According to Baldwin, both Palla Strozzi and his father, Onofrio, appear in the painting − Palla as the man in the red hat in the forefront of the painting, and Onofrio as the falcon trainer situated behind the youngest king. According to other opinions, the falcon trainer depicts the commissioner Palla Strozzi with his eldest son Lorenzo to his right. Finished in 1423, the painting was placed in the new chapel of the church of Santa Trinita which Lorenzo Ghiberti was executing in these years.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: Focus on Adoration of the Magi (Gentile da Fabriano) and explain the Description, materials, and techniques.

The works shows both the international and Sienese schools' influences on Gentile's art, combined with the Renaissance novelties that he knew in Florence. The panel portrays the path of the three Magi in several scenes which start from the upper left corner (the voyage and the entrance into Bethlehem) and continue clockwise, to the larger meeting with the Virgin Mary and the newborn Jesus which occupies the lowest part of the picture. All the figures wear splendid Renaissance costumes, brocades richly decorated with real gold and precious stones inserted in the panel. Above in the background, the magi are shown entering Bethlehem on horses, once they arrive before the Christ-child, they are shown taking off their extravagant crowns to pay respect to the newborn Jesus when they meet him. Gentile's typical attention for detail is also evident in the exotic animals, such as a leopard, a dromedary, some apes and a lion, as well as the magnificent horses and a hound. Gentile created a three-dimensional space where animals protrude in front of one another. Higher up in the background of the painting, human figures are clustered together and not given the same perspective as the animals.The choice of materials emphasized the importance of certain aspects of the painting. Mary's blue robe was painted using the extremely expensive color ultramarine, while other blue portions of the painting used an other, less expensive blue pigment. The use of ultramarine shows the importance of Mary and its use emphasizes the brilliance of her robe. Gold was another valuable material used, in the technique of pastiglia as well as gold leaf. The pastiglia technique transforms parts like the crowns, textiles, and spurs into three-dimensional objects due to the gold pieces added as relief in parts of the art work. Silver was also an additional material used to add dimension to the artwork as it was raised off the surface of the painting.The artist utilized artistic techniques throughout the painting, some of which are particularly notable in the predella. Naturalistic lighting in both the foreground and the background of the painting creates a sense of visual continuity within the painting. Depth and depiction of three-dimensional figures bring the artwork to life and help to define space. Gentile also depicted the faces of the figures with varying facial expressions with a high amount of detail, which was not commonly done by earlier artists. The altarpiece was bejeweled in order to emphasize the patron's wealth. Gentile employs lighter brush strokes creating softer fur, leaves, fabrics, and shadows than other painters during his time. The use of pastiglia created a separation between the thin metals that were added into the altarpiece and the paint in order to add a sense of three-dimensionality.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: Explain the Description, materials, and techniques of this artwork, Adoration of the Magi (Gentile da Fabriano).

The works shows both the international and Sienese schools' influences on Gentile's art, combined with the Renaissance novelties that he knew in Florence. The panel portrays the path of the three Magi in several scenes which start from the upper left corner (the voyage and the entrance into Bethlehem) and continue clockwise, to the larger meeting with the Virgin Mary and the newborn Jesus which occupies the lowest part of the picture. All the figures wear splendid Renaissance costumes, brocades richly decorated with real gold and precious stones inserted in the panel. Above in the background, the magi are shown entering Bethlehem on horses, once they arrive before the Christ-child, they are shown taking off their extravagant crowns to pay respect to the newborn Jesus when they meet him. Gentile's typical attention for detail is also evident in the exotic animals, such as a leopard, a dromedary, some apes and a lion, as well as the magnificent horses and a hound. Gentile created a three-dimensional space where animals protrude in front of one another. Higher up in the background of the painting, human figures are clustered together and not given the same perspective as the animals.The choice of materials emphasized the importance of certain aspects of the painting. Mary's blue robe was painted using the extremely expensive color ultramarine, while other blue portions of the painting used an other, less expensive blue pigment. The use of ultramarine shows the importance of Mary and its use emphasizes the brilliance of her robe. Gold was another valuable material used, in the technique of pastiglia as well as gold leaf. The pastiglia technique transforms parts like the crowns, textiles, and spurs into three-dimensional objects due to the gold pieces added as relief in parts of the art work. Silver was also an additional material used to add dimension to the artwork as it was raised off the surface of the painting.The artist utilized artistic techniques throughout the painting, some of which are particularly notable in the predella. Naturalistic lighting in both the foreground and the background of the painting creates a sense of visual continuity within the painting. Depth and depiction of three-dimensional figures bring the artwork to life and help to define space. Gentile also depicted the faces of the figures with varying facial expressions with a high amount of detail, which was not commonly done by earlier artists. The altarpiece was bejeweled in order to emphasize the patron's wealth. Gentile employs lighter brush strokes creating softer fur, leaves, fabrics, and shadows than other painters during his time. The use of pastiglia created a separation between the thin metals that were added into the altarpiece and the paint in order to add a sense of three-dimensionality.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: How does Adoration of the Magi (Gentile da Fabriano) explain its Description, materials, and techniques?

The works shows both the international and Sienese schools' influences on Gentile's art, combined with the Renaissance novelties that he knew in Florence. The panel portrays the path of the three Magi in several scenes which start from the upper left corner (the voyage and the entrance into Bethlehem) and continue clockwise, to the larger meeting with the Virgin Mary and the newborn Jesus which occupies the lowest part of the picture. All the figures wear splendid Renaissance costumes, brocades richly decorated with real gold and precious stones inserted in the panel. Above in the background, the magi are shown entering Bethlehem on horses, once they arrive before the Christ-child, they are shown taking off their extravagant crowns to pay respect to the newborn Jesus when they meet him. Gentile's typical attention for detail is also evident in the exotic animals, such as a leopard, a dromedary, some apes and a lion, as well as the magnificent horses and a hound. Gentile created a three-dimensional space where animals protrude in front of one another. Higher up in the background of the painting, human figures are clustered together and not given the same perspective as the animals.The choice of materials emphasized the importance of certain aspects of the painting. Mary's blue robe was painted using the extremely expensive color ultramarine, while other blue portions of the painting used an other, less expensive blue pigment. The use of ultramarine shows the importance of Mary and its use emphasizes the brilliance of her robe. Gold was another valuable material used, in the technique of pastiglia as well as gold leaf. The pastiglia technique transforms parts like the crowns, textiles, and spurs into three-dimensional objects due to the gold pieces added as relief in parts of the art work. Silver was also an additional material used to add dimension to the artwork as it was raised off the surface of the painting.The artist utilized artistic techniques throughout the painting, some of which are particularly notable in the predella. Naturalistic lighting in both the foreground and the background of the painting creates a sense of visual continuity within the painting. Depth and depiction of three-dimensional figures bring the artwork to life and help to define space. Gentile also depicted the faces of the figures with varying facial expressions with a high amount of detail, which was not commonly done by earlier artists. The altarpiece was bejeweled in order to emphasize the patron's wealth. Gentile employs lighter brush strokes creating softer fur, leaves, fabrics, and shadows than other painters during his time. The use of pastiglia created a separation between the thin metals that were added into the altarpiece and the paint in order to add a sense of three-dimensionality.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: In Adoration of the Magi (Gentile da Fabriano), how is the Description, materials, and techniques discussed?

The works shows both the international and Sienese schools' influences on Gentile's art, combined with the Renaissance novelties that he knew in Florence. The panel portrays the path of the three Magi in several scenes which start from the upper left corner (the voyage and the entrance into Bethlehem) and continue clockwise, to the larger meeting with the Virgin Mary and the newborn Jesus which occupies the lowest part of the picture. All the figures wear splendid Renaissance costumes, brocades richly decorated with real gold and precious stones inserted in the panel. Above in the background, the magi are shown entering Bethlehem on horses, once they arrive before the Christ-child, they are shown taking off their extravagant crowns to pay respect to the newborn Jesus when they meet him. Gentile's typical attention for detail is also evident in the exotic animals, such as a leopard, a dromedary, some apes and a lion, as well as the magnificent horses and a hound. Gentile created a three-dimensional space where animals protrude in front of one another. Higher up in the background of the painting, human figures are clustered together and not given the same perspective as the animals.The choice of materials emphasized the importance of certain aspects of the painting. Mary's blue robe was painted using the extremely expensive color ultramarine, while other blue portions of the painting used an other, less expensive blue pigment. The use of ultramarine shows the importance of Mary and its use emphasizes the brilliance of her robe. Gold was another valuable material used, in the technique of pastiglia as well as gold leaf. The pastiglia technique transforms parts like the crowns, textiles, and spurs into three-dimensional objects due to the gold pieces added as relief in parts of the art work. Silver was also an additional material used to add dimension to the artwork as it was raised off the surface of the painting.The artist utilized artistic techniques throughout the painting, some of which are particularly notable in the predella. Naturalistic lighting in both the foreground and the background of the painting creates a sense of visual continuity within the painting. Depth and depiction of three-dimensional figures bring the artwork to life and help to define space. Gentile also depicted the faces of the figures with varying facial expressions with a high amount of detail, which was not commonly done by earlier artists. The altarpiece was bejeweled in order to emphasize the patron's wealth. Gentile employs lighter brush strokes creating softer fur, leaves, fabrics, and shadows than other painters during his time. The use of pastiglia created a separation between the thin metals that were added into the altarpiece and the paint in order to add a sense of three-dimensionality.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: Focus on Adoration of the Magi (Gentile da Fabriano) and explain the Architectural frame.

The frame is also a work of art in itself, characterized by three cusps with tondos portraying Christ Blessing (center) and the Annunciation (with the Archangel Gabriel on the left and the Madonna on the right). The three main arches of the frame help to clearly separate these narratives from the three main scenes below that depict the journey of the Magi. The predella also has three rectangular paintings with scenes of Jesus' childhood: the Nativity, the Flight into Egypt and the Presentation at the Temple (the latter is a copy, since the original was removed from the altarpiece and is in the Louvre in Paris). As the first altarpiece made with panel and frame in two separate pieces, it the first independent frame as we know it today. Gentile's incorporation of this completely self-supporting frame intended to protect the painting instead of being inseparable from the painting helped lead to this modern idea of a frame.The frame of the Adoration of the Magi is a Gothic design structure with impressive craftsmanship. It reflects the International Gothic style of Florence with its thin, spiral columns and a composition made up of three main geometric, ornamental arches described as "mixtilineal" (but better known as a lambrequin arch). The influence of Lorenzo Ghiberti is linked to the design of the frame due to his use of similar architectural motifs and designs in his sculptures created for the Orsanmichele in Florence. For example, in the Calamala niche for the sculpture of Saint John the Baptist, Ghiberti employed lambrequin arches to frame the central subject. Gentile's altarpiece includes three of these lambrequin arches atop the painting. These arches on the frame of the painting, like the ones in the Calamala niche, are both surrounded with decorative ornamentation. Other elements of the frame's design relate to the Calamala niche including spiral columns that add beauty to the piers on the inner sides of the frame. An architectural detail of the frame that differs from the Calamala niche but relates to the main entrance portals of the Orsanmichele, is the inclusion of a tondo that has been placed beneath each arch, and is therefore seen three times at the top of each lambrequin arch in Gentile's frame. Elements that stand out in the frame's columns is not only the ornamentation and geometric patterns, but also the delicacy and richness. There is even a rare feature of painted flowers on some of the piers further emphasizing Gentile's detailed craftsmanship. The frame is also characterized with polychromy, gold, and silver, all of which offer an astonishing and brilliant effect.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: Explain the Architectural frame of this artwork, Adoration of the Magi (Gentile da Fabriano).

The frame is also a work of art in itself, characterized by three cusps with tondos portraying Christ Blessing (center) and the Annunciation (with the Archangel Gabriel on the left and the Madonna on the right). The three main arches of the frame help to clearly separate these narratives from the three main scenes below that depict the journey of the Magi. The predella also has three rectangular paintings with scenes of Jesus' childhood: the Nativity, the Flight into Egypt and the Presentation at the Temple (the latter is a copy, since the original was removed from the altarpiece and is in the Louvre in Paris). As the first altarpiece made with panel and frame in two separate pieces, it the first independent frame as we know it today. Gentile's incorporation of this completely self-supporting frame intended to protect the painting instead of being inseparable from the painting helped lead to this modern idea of a frame.The frame of the Adoration of the Magi is a Gothic design structure with impressive craftsmanship. It reflects the International Gothic style of Florence with its thin, spiral columns and a composition made up of three main geometric, ornamental arches described as "mixtilineal" (but better known as a lambrequin arch). The influence of Lorenzo Ghiberti is linked to the design of the frame due to his use of similar architectural motifs and designs in his sculptures created for the Orsanmichele in Florence. For example, in the Calamala niche for the sculpture of Saint John the Baptist, Ghiberti employed lambrequin arches to frame the central subject. Gentile's altarpiece includes three of these lambrequin arches atop the painting. These arches on the frame of the painting, like the ones in the Calamala niche, are both surrounded with decorative ornamentation. Other elements of the frame's design relate to the Calamala niche including spiral columns that add beauty to the piers on the inner sides of the frame. An architectural detail of the frame that differs from the Calamala niche but relates to the main entrance portals of the Orsanmichele, is the inclusion of a tondo that has been placed beneath each arch, and is therefore seen three times at the top of each lambrequin arch in Gentile's frame. Elements that stand out in the frame's columns is not only the ornamentation and geometric patterns, but also the delicacy and richness. There is even a rare feature of painted flowers on some of the piers further emphasizing Gentile's detailed craftsmanship. The frame is also characterized with polychromy, gold, and silver, all of which offer an astonishing and brilliant effect.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: How does Adoration of the Magi (Gentile da Fabriano) explain its Architectural frame?

The frame is also a work of art in itself, characterized by three cusps with tondos portraying Christ Blessing (center) and the Annunciation (with the Archangel Gabriel on the left and the Madonna on the right). The three main arches of the frame help to clearly separate these narratives from the three main scenes below that depict the journey of the Magi. The predella also has three rectangular paintings with scenes of Jesus' childhood: the Nativity, the Flight into Egypt and the Presentation at the Temple (the latter is a copy, since the original was removed from the altarpiece and is in the Louvre in Paris). As the first altarpiece made with panel and frame in two separate pieces, it the first independent frame as we know it today. Gentile's incorporation of this completely self-supporting frame intended to protect the painting instead of being inseparable from the painting helped lead to this modern idea of a frame.The frame of the Adoration of the Magi is a Gothic design structure with impressive craftsmanship. It reflects the International Gothic style of Florence with its thin, spiral columns and a composition made up of three main geometric, ornamental arches described as "mixtilineal" (but better known as a lambrequin arch). The influence of Lorenzo Ghiberti is linked to the design of the frame due to his use of similar architectural motifs and designs in his sculptures created for the Orsanmichele in Florence. For example, in the Calamala niche for the sculpture of Saint John the Baptist, Ghiberti employed lambrequin arches to frame the central subject. Gentile's altarpiece includes three of these lambrequin arches atop the painting. These arches on the frame of the painting, like the ones in the Calamala niche, are both surrounded with decorative ornamentation. Other elements of the frame's design relate to the Calamala niche including spiral columns that add beauty to the piers on the inner sides of the frame. An architectural detail of the frame that differs from the Calamala niche but relates to the main entrance portals of the Orsanmichele, is the inclusion of a tondo that has been placed beneath each arch, and is therefore seen three times at the top of each lambrequin arch in Gentile's frame. Elements that stand out in the frame's columns is not only the ornamentation and geometric patterns, but also the delicacy and richness. There is even a rare feature of painted flowers on some of the piers further emphasizing Gentile's detailed craftsmanship. The frame is also characterized with polychromy, gold, and silver, all of which offer an astonishing and brilliant effect.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: In Adoration of the Magi (Gentile da Fabriano), how is the Architectural frame discussed?

The frame is also a work of art in itself, characterized by three cusps with tondos portraying Christ Blessing (center) and the Annunciation (with the Archangel Gabriel on the left and the Madonna on the right). The three main arches of the frame help to clearly separate these narratives from the three main scenes below that depict the journey of the Magi. The predella also has three rectangular paintings with scenes of Jesus' childhood: the Nativity, the Flight into Egypt and the Presentation at the Temple (the latter is a copy, since the original was removed from the altarpiece and is in the Louvre in Paris). As the first altarpiece made with panel and frame in two separate pieces, it the first independent frame as we know it today. Gentile's incorporation of this completely self-supporting frame intended to protect the painting instead of being inseparable from the painting helped lead to this modern idea of a frame.The frame of the Adoration of the Magi is a Gothic design structure with impressive craftsmanship. It reflects the International Gothic style of Florence with its thin, spiral columns and a composition made up of three main geometric, ornamental arches described as "mixtilineal" (but better known as a lambrequin arch). The influence of Lorenzo Ghiberti is linked to the design of the frame due to his use of similar architectural motifs and designs in his sculptures created for the Orsanmichele in Florence. For example, in the Calamala niche for the sculpture of Saint John the Baptist, Ghiberti employed lambrequin arches to frame the central subject. Gentile's altarpiece includes three of these lambrequin arches atop the painting. These arches on the frame of the painting, like the ones in the Calamala niche, are both surrounded with decorative ornamentation. Other elements of the frame's design relate to the Calamala niche including spiral columns that add beauty to the piers on the inner sides of the frame. An architectural detail of the frame that differs from the Calamala niche but relates to the main entrance portals of the Orsanmichele, is the inclusion of a tondo that has been placed beneath each arch, and is therefore seen three times at the top of each lambrequin arch in Gentile's frame. Elements that stand out in the frame's columns is not only the ornamentation and geometric patterns, but also the delicacy and richness. There is even a rare feature of painted flowers on some of the piers further emphasizing Gentile's detailed craftsmanship. The frame is also characterized with polychromy, gold, and silver, all of which offer an astonishing and brilliant effect.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: In the context of Adoration of the Magi (Gentile da Fabriano), explain the Exotic animals and the Influences and signs of the Orient.

Exotic animals are included in the altarpiece because they were a sign of wealth and connection, and also spurred the curiosity of Europeans. Additionally, they hold greater purpose to help the imagery depict an aura of the Orient in order to establish a Middle Eastern setting for the work. Foreign, exotic animals such as camels were given as gifts, monkeys were collected, and lions and leopards were trained for purposes such as hunting. All of these non-European animals can be found in the painting. Other animals that are included in the artwork are: falcons, leopards and dogs. Dogs depicted in the painting can be connected to classical antiquity since dogs were commonly depicted in Greco-Roman arts such as Roman sarcophagi. The inclusion of a falcon was very intentional and significant because it has been linked to Persian and Arabian tradition and culture. Falcons were also used for hunting sport and was seen as a sign of nobility, since kings used falcons as the choice of bird for hunting. Palla Strozzi, the patron, is also painted in the image holding a falcon, and the purpose of this was to not only signify his status but also serves as a visual pun, since the term "falconer" translates to Strozzieri in the Tuscan dialect. Another falcon in the painting is situated just below in the middle of arch and is shown flying and spreading its wings. The falcon likely symbolizes chivalry, and within religious works such as this, can even evoke the Holy Spirit.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: Explain the Exotic animals about the Influences and signs of the Orient of this artwork, Adoration of the Magi (Gentile da Fabriano).

Exotic animals are included in the altarpiece because they were a sign of wealth and connection, and also spurred the curiosity of Europeans. Additionally, they hold greater purpose to help the imagery depict an aura of the Orient in order to establish a Middle Eastern setting for the work. Foreign, exotic animals such as camels were given as gifts, monkeys were collected, and lions and leopards were trained for purposes such as hunting. All of these non-European animals can be found in the painting. Other animals that are included in the artwork are: falcons, leopards and dogs. Dogs depicted in the painting can be connected to classical antiquity since dogs were commonly depicted in Greco-Roman arts such as Roman sarcophagi. The inclusion of a falcon was very intentional and significant because it has been linked to Persian and Arabian tradition and culture. Falcons were also used for hunting sport and was seen as a sign of nobility, since kings used falcons as the choice of bird for hunting. Palla Strozzi, the patron, is also painted in the image holding a falcon, and the purpose of this was to not only signify his status but also serves as a visual pun, since the term "falconer" translates to Strozzieri in the Tuscan dialect. Another falcon in the painting is situated just below in the middle of arch and is shown flying and spreading its wings. The falcon likely symbolizes chivalry, and within religious works such as this, can even evoke the Holy Spirit.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: In Adoration of the Magi (Gentile da Fabriano), how is the Exotic animals of the Influences and signs of the Orient explained?

Exotic animals are included in the altarpiece because they were a sign of wealth and connection, and also spurred the curiosity of Europeans. Additionally, they hold greater purpose to help the imagery depict an aura of the Orient in order to establish a Middle Eastern setting for the work. Foreign, exotic animals such as camels were given as gifts, monkeys were collected, and lions and leopards were trained for purposes such as hunting. All of these non-European animals can be found in the painting. Other animals that are included in the artwork are: falcons, leopards and dogs. Dogs depicted in the painting can be connected to classical antiquity since dogs were commonly depicted in Greco-Roman arts such as Roman sarcophagi. The inclusion of a falcon was very intentional and significant because it has been linked to Persian and Arabian tradition and culture. Falcons were also used for hunting sport and was seen as a sign of nobility, since kings used falcons as the choice of bird for hunting. Palla Strozzi, the patron, is also painted in the image holding a falcon, and the purpose of this was to not only signify his status but also serves as a visual pun, since the term "falconer" translates to Strozzieri in the Tuscan dialect. Another falcon in the painting is situated just below in the middle of arch and is shown flying and spreading its wings. The falcon likely symbolizes chivalry, and within religious works such as this, can even evoke the Holy Spirit.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: Describe the characteristics of the Exotic animals in Adoration of the Magi (Gentile da Fabriano)'s Influences and signs of the Orient.

Exotic animals are included in the altarpiece because they were a sign of wealth and connection, and also spurred the curiosity of Europeans. Additionally, they hold greater purpose to help the imagery depict an aura of the Orient in order to establish a Middle Eastern setting for the work. Foreign, exotic animals such as camels were given as gifts, monkeys were collected, and lions and leopards were trained for purposes such as hunting. All of these non-European animals can be found in the painting. Other animals that are included in the artwork are: falcons, leopards and dogs. Dogs depicted in the painting can be connected to classical antiquity since dogs were commonly depicted in Greco-Roman arts such as Roman sarcophagi. The inclusion of a falcon was very intentional and significant because it has been linked to Persian and Arabian tradition and culture. Falcons were also used for hunting sport and was seen as a sign of nobility, since kings used falcons as the choice of bird for hunting. Palla Strozzi, the patron, is also painted in the image holding a falcon, and the purpose of this was to not only signify his status but also serves as a visual pun, since the term "falconer" translates to Strozzieri in the Tuscan dialect. Another falcon in the painting is situated just below in the middle of arch and is shown flying and spreading its wings. The falcon likely symbolizes chivalry, and within religious works such as this, can even evoke the Holy Spirit.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: In the context of Adoration of the Magi (Gentile da Fabriano), explain the Pseudo-Arabic inscriptions and the Influences and signs of the Orient.

Arabic writing was admired for its luxuriousness and exotic qualities. Gentile's altarpiece includes pseudo-Arabic inscriptions inscribed on the golden halos of Mary and Joseph that are in turn divided by four rosettes. The details of gold and pseudo-Arabic inscriptions create a sense of holiness, as well as a clear reference to the Orient. Due to growing trade relationships with the East, mainly Mamluk Egypt, different material goods such as ceramics, metalwork, and textiles helped to spread the influence of Arabic inscriptions, leading to an admiration by the Europeans. The use of pseudo-Arabic inscriptions became widespread in Florence influencing Gentile's artwork since his pre-Florentine paintings do not include pseudo-Arabic. Wealthy families such as the Strozzi family were able to obtain these foreign goods that then allowed them to include these objects with qualities of the Orient in works like the Adoration of the Magi. This link is further emphasized by the connection between Egyptian Mamluk metalwork, for example a brass bowl sold at Christie's London in 2015, and the halos of Mary and Joseph which are both separated in four parts and inscribed with pseudo-Arabic inscriptions. The artist also incorporated pseudo-Arabic inscriptions into the work in an effort to act in accordance with what other Italian artists were doing since it was popular and attractive. Many of Gentile da Fabriano's other works include pseudo-Arabic inscriptions, such as in the halo of Mary in the Coronation of the Virgin and the halo and robe of Mary in the Madonna and Child. Moreover, the pseudo-Arabic inscriptions also created a sense of sacredness and linked viewers to the concept and image of the Holy land of Jerusalem. As shown by Fabriano's Adoration of the Magi, Europeans mimicked Arabic writing in their own artistic goods to appeal towards the exotic demand and Orient influences.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: Explain the Pseudo-Arabic inscriptions about the Influences and signs of the Orient of this artwork, Adoration of the Magi (Gentile da Fabriano).

Arabic writing was admired for its luxuriousness and exotic qualities. Gentile's altarpiece includes pseudo-Arabic inscriptions inscribed on the golden halos of Mary and Joseph that are in turn divided by four rosettes. The details of gold and pseudo-Arabic inscriptions create a sense of holiness, as well as a clear reference to the Orient. Due to growing trade relationships with the East, mainly Mamluk Egypt, different material goods such as ceramics, metalwork, and textiles helped to spread the influence of Arabic inscriptions, leading to an admiration by the Europeans. The use of pseudo-Arabic inscriptions became widespread in Florence influencing Gentile's artwork since his pre-Florentine paintings do not include pseudo-Arabic. Wealthy families such as the Strozzi family were able to obtain these foreign goods that then allowed them to include these objects with qualities of the Orient in works like the Adoration of the Magi. This link is further emphasized by the connection between Egyptian Mamluk metalwork, for example a brass bowl sold at Christie's London in 2015, and the halos of Mary and Joseph which are both separated in four parts and inscribed with pseudo-Arabic inscriptions. The artist also incorporated pseudo-Arabic inscriptions into the work in an effort to act in accordance with what other Italian artists were doing since it was popular and attractive. Many of Gentile da Fabriano's other works include pseudo-Arabic inscriptions, such as in the halo of Mary in the Coronation of the Virgin and the halo and robe of Mary in the Madonna and Child. Moreover, the pseudo-Arabic inscriptions also created a sense of sacredness and linked viewers to the concept and image of the Holy land of Jerusalem. As shown by Fabriano's Adoration of the Magi, Europeans mimicked Arabic writing in their own artistic goods to appeal towards the exotic demand and Orient influences.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: In Adoration of the Magi (Gentile da Fabriano), how is the Pseudo-Arabic inscriptions of the Influences and signs of the Orient explained?

Arabic writing was admired for its luxuriousness and exotic qualities. Gentile's altarpiece includes pseudo-Arabic inscriptions inscribed on the golden halos of Mary and Joseph that are in turn divided by four rosettes. The details of gold and pseudo-Arabic inscriptions create a sense of holiness, as well as a clear reference to the Orient. Due to growing trade relationships with the East, mainly Mamluk Egypt, different material goods such as ceramics, metalwork, and textiles helped to spread the influence of Arabic inscriptions, leading to an admiration by the Europeans. The use of pseudo-Arabic inscriptions became widespread in Florence influencing Gentile's artwork since his pre-Florentine paintings do not include pseudo-Arabic. Wealthy families such as the Strozzi family were able to obtain these foreign goods that then allowed them to include these objects with qualities of the Orient in works like the Adoration of the Magi. This link is further emphasized by the connection between Egyptian Mamluk metalwork, for example a brass bowl sold at Christie's London in 2015, and the halos of Mary and Joseph which are both separated in four parts and inscribed with pseudo-Arabic inscriptions. The artist also incorporated pseudo-Arabic inscriptions into the work in an effort to act in accordance with what other Italian artists were doing since it was popular and attractive. Many of Gentile da Fabriano's other works include pseudo-Arabic inscriptions, such as in the halo of Mary in the Coronation of the Virgin and the halo and robe of Mary in the Madonna and Child. Moreover, the pseudo-Arabic inscriptions also created a sense of sacredness and linked viewers to the concept and image of the Holy land of Jerusalem. As shown by Fabriano's Adoration of the Magi, Europeans mimicked Arabic writing in their own artistic goods to appeal towards the exotic demand and Orient influences.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: Describe the characteristics of the Pseudo-Arabic inscriptions in Adoration of the Magi (Gentile da Fabriano)'s Influences and signs of the Orient.

Arabic writing was admired for its luxuriousness and exotic qualities. Gentile's altarpiece includes pseudo-Arabic inscriptions inscribed on the golden halos of Mary and Joseph that are in turn divided by four rosettes. The details of gold and pseudo-Arabic inscriptions create a sense of holiness, as well as a clear reference to the Orient. Due to growing trade relationships with the East, mainly Mamluk Egypt, different material goods such as ceramics, metalwork, and textiles helped to spread the influence of Arabic inscriptions, leading to an admiration by the Europeans. The use of pseudo-Arabic inscriptions became widespread in Florence influencing Gentile's artwork since his pre-Florentine paintings do not include pseudo-Arabic. Wealthy families such as the Strozzi family were able to obtain these foreign goods that then allowed them to include these objects with qualities of the Orient in works like the Adoration of the Magi. This link is further emphasized by the connection between Egyptian Mamluk metalwork, for example a brass bowl sold at Christie's London in 2015, and the halos of Mary and Joseph which are both separated in four parts and inscribed with pseudo-Arabic inscriptions. The artist also incorporated pseudo-Arabic inscriptions into the work in an effort to act in accordance with what other Italian artists were doing since it was popular and attractive. Many of Gentile da Fabriano's other works include pseudo-Arabic inscriptions, such as in the halo of Mary in the Coronation of the Virgin and the halo and robe of Mary in the Madonna and Child. Moreover, the pseudo-Arabic inscriptions also created a sense of sacredness and linked viewers to the concept and image of the Holy land of Jerusalem. As shown by Fabriano's Adoration of the Magi, Europeans mimicked Arabic writing in their own artistic goods to appeal towards the exotic demand and Orient influences.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: In the context of Adoration of the Magi (Gentile da Fabriano), explain the Islamic textiles, dress, and fabrics and the Influences and signs of the Orient.

The style of dress and fabrics that clothe the individual figures in the Adoration of the Magi, especially the three magi, is incredibly decorative comprising rich patterns with elements of gold and floral designs. Italian textiles during the Renaissance as shown in the altarpiece display a new taste for floral designs, and contain Oriental patterns and elements including ogival and fluctuating stem patterns. The clothing worn included expensive and highly desired materials such as silks, velvet, brocades, and damasks. These sumptuous style of dress draws upon the luxury textiles purchased and spread through the international luxury trade network. The textiles worn by the magi signify the Orient origins of not only the magi, but of the overall biblical scene to evoke the holy land. Islamic textiles also signify status and rank since this kind of clothing was in high demand and expensive. The magi Caspar is shown dressed in a dark tunic contrasted against the a pattern of gold pomegranates that symbolize rebirth in a Christian context and were associated with the Orient. The outfits of the other magi including Melchior and Balthazar, also include gold, silver, and detailed floral designs. Some men are shown wearing turbans that not only bring about the idea of the three kings coming from the Orient, but also creates a more exotic Middle Eastern setting. The types of dress are used to distinguish between the magi and the holy family.Furthermore, the magi and their followers are wearing extravagant robes that are covered with patterns and designs. By contrast, Mary is depicted wearing a deep blue robe that covers the other parts of her wardrobe. Around her head she wears an intricately detailed black and white shawl with geometric patterns. Jesus is shown clothed in a white tunic that is detailed with gold.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: Explain the Islamic textiles, dress, and fabrics about the Influences and signs of the Orient of this artwork, Adoration of the Magi (Gentile da Fabriano).

The style of dress and fabrics that clothe the individual figures in the Adoration of the Magi, especially the three magi, is incredibly decorative comprising rich patterns with elements of gold and floral designs. Italian textiles during the Renaissance as shown in the altarpiece display a new taste for floral designs, and contain Oriental patterns and elements including ogival and fluctuating stem patterns. The clothing worn included expensive and highly desired materials such as silks, velvet, brocades, and damasks. These sumptuous style of dress draws upon the luxury textiles purchased and spread through the international luxury trade network. The textiles worn by the magi signify the Orient origins of not only the magi, but of the overall biblical scene to evoke the holy land. Islamic textiles also signify status and rank since this kind of clothing was in high demand and expensive. The magi Caspar is shown dressed in a dark tunic contrasted against the a pattern of gold pomegranates that symbolize rebirth in a Christian context and were associated with the Orient. The outfits of the other magi including Melchior and Balthazar, also include gold, silver, and detailed floral designs. Some men are shown wearing turbans that not only bring about the idea of the three kings coming from the Orient, but also creates a more exotic Middle Eastern setting. The types of dress are used to distinguish between the magi and the holy family.Furthermore, the magi and their followers are wearing extravagant robes that are covered with patterns and designs. By contrast, Mary is depicted wearing a deep blue robe that covers the other parts of her wardrobe. Around her head she wears an intricately detailed black and white shawl with geometric patterns. Jesus is shown clothed in a white tunic that is detailed with gold.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: In Adoration of the Magi (Gentile da Fabriano), how is the Islamic textiles, dress, and fabrics of the Influences and signs of the Orient explained?

The style of dress and fabrics that clothe the individual figures in the Adoration of the Magi, especially the three magi, is incredibly decorative comprising rich patterns with elements of gold and floral designs. Italian textiles during the Renaissance as shown in the altarpiece display a new taste for floral designs, and contain Oriental patterns and elements including ogival and fluctuating stem patterns. The clothing worn included expensive and highly desired materials such as silks, velvet, brocades, and damasks. These sumptuous style of dress draws upon the luxury textiles purchased and spread through the international luxury trade network. The textiles worn by the magi signify the Orient origins of not only the magi, but of the overall biblical scene to evoke the holy land. Islamic textiles also signify status and rank since this kind of clothing was in high demand and expensive. The magi Caspar is shown dressed in a dark tunic contrasted against the a pattern of gold pomegranates that symbolize rebirth in a Christian context and were associated with the Orient. The outfits of the other magi including Melchior and Balthazar, also include gold, silver, and detailed floral designs. Some men are shown wearing turbans that not only bring about the idea of the three kings coming from the Orient, but also creates a more exotic Middle Eastern setting. The types of dress are used to distinguish between the magi and the holy family.Furthermore, the magi and their followers are wearing extravagant robes that are covered with patterns and designs. By contrast, Mary is depicted wearing a deep blue robe that covers the other parts of her wardrobe. Around her head she wears an intricately detailed black and white shawl with geometric patterns. Jesus is shown clothed in a white tunic that is detailed with gold.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Prompt: Describe the characteristics of the Islamic textiles, dress, and fabrics in Adoration of the Magi (Gentile da Fabriano)'s Influences and signs of the Orient.

The style of dress and fabrics that clothe the individual figures in the Adoration of the Magi, especially the three magi, is incredibly decorative comprising rich patterns with elements of gold and floral designs. Italian textiles during the Renaissance as shown in the altarpiece display a new taste for floral designs, and contain Oriental patterns and elements including ogival and fluctuating stem patterns. The clothing worn included expensive and highly desired materials such as silks, velvet, brocades, and damasks. These sumptuous style of dress draws upon the luxury textiles purchased and spread through the international luxury trade network. The textiles worn by the magi signify the Orient origins of not only the magi, but of the overall biblical scene to evoke the holy land. Islamic textiles also signify status and rank since this kind of clothing was in high demand and expensive. The magi Caspar is shown dressed in a dark tunic contrasted against the a pattern of gold pomegranates that symbolize rebirth in a Christian context and were associated with the Orient. The outfits of the other magi including Melchior and Balthazar, also include gold, silver, and detailed floral designs. Some men are shown wearing turbans that not only bring about the idea of the three kings coming from the Orient, but also creates a more exotic Middle Eastern setting. The types of dress are used to distinguish between the magi and the holy family.Furthermore, the magi and their followers are wearing extravagant robes that are covered with patterns and designs. By contrast, Mary is depicted wearing a deep blue robe that covers the other parts of her wardrobe. Around her head she wears an intricately detailed black and white shawl with geometric patterns. Jesus is shown clothed in a white tunic that is detailed with gold.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles


Proserpine (Rossetti)

Prompt: Focus on Proserpine (Rossetti) and explain the abstract.

Proserpine (also Proserpina or Persephone) is an oil painting on canvas by English artist and poet Dante Gabriel Rossetti, painted in 1874 and now in Tate Britain. Rossetti began work on the painting in 1871 and painted at least eight separate versions, the last only completed in 1882, the year of his death. Early versions were promised to Charles Augustus Howell. The painting discussed in this article is the so-called seventh version commissioned by Frederick Richards Leyland, now at the Tate Gallery, with the very similar final version now at the Birmingham Museum and Art Gallery.

Category:Paintings in the Tate galleries

A version in coloured chalks, dated 1880.

Rossetti's eighth and final version of ''Proserpine'', now in the [[Birmingham Museum and Art Gallery

Category:Paintings by Dante Gabriel Rossetti

Category:Collection of Birmingham Museum and Art Gallery

Image:8th Rossetti Proserpine cropped.jpeg

List of paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Proserpina (chalks).jpg


Proserpine (Rossetti)

Prompt: Explain the abstract of this artwork, Proserpine (Rossetti).

Proserpine (also Proserpina or Persephone) is an oil painting on canvas by English artist and poet Dante Gabriel Rossetti, painted in 1874 and now in Tate Britain. Rossetti began work on the painting in 1871 and painted at least eight separate versions, the last only completed in 1882, the year of his death. Early versions were promised to Charles Augustus Howell. The painting discussed in this article is the so-called seventh version commissioned by Frederick Richards Leyland, now at the Tate Gallery, with the very similar final version now at the Birmingham Museum and Art Gallery.

Category:Paintings in the Tate galleries

A version in coloured chalks, dated 1880.

Rossetti's eighth and final version of ''Proserpine'', now in the [[Birmingham Museum and Art Gallery

Category:Paintings by Dante Gabriel Rossetti

Category:Collection of Birmingham Museum and Art Gallery

Image:8th Rossetti Proserpine cropped.jpeg

List of paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Proserpina (chalks).jpg


Proserpine (Rossetti)

Prompt: How does Proserpine (Rossetti) explain its abstract?

Proserpine (also Proserpina or Persephone) is an oil painting on canvas by English artist and poet Dante Gabriel Rossetti, painted in 1874 and now in Tate Britain. Rossetti began work on the painting in 1871 and painted at least eight separate versions, the last only completed in 1882, the year of his death. Early versions were promised to Charles Augustus Howell. The painting discussed in this article is the so-called seventh version commissioned by Frederick Richards Leyland, now at the Tate Gallery, with the very similar final version now at the Birmingham Museum and Art Gallery.

Category:Paintings in the Tate galleries

A version in coloured chalks, dated 1880.

Rossetti's eighth and final version of ''Proserpine'', now in the [[Birmingham Museum and Art Gallery

Category:Paintings by Dante Gabriel Rossetti

Category:Collection of Birmingham Museum and Art Gallery

Image:8th Rossetti Proserpine cropped.jpeg

List of paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Proserpina (chalks).jpg


Proserpine (Rossetti)

Prompt: In Proserpine (Rossetti), how is the abstract discussed?

Proserpine (also Proserpina or Persephone) is an oil painting on canvas by English artist and poet Dante Gabriel Rossetti, painted in 1874 and now in Tate Britain. Rossetti began work on the painting in 1871 and painted at least eight separate versions, the last only completed in 1882, the year of his death. Early versions were promised to Charles Augustus Howell. The painting discussed in this article is the so-called seventh version commissioned by Frederick Richards Leyland, now at the Tate Gallery, with the very similar final version now at the Birmingham Museum and Art Gallery.

Category:Paintings in the Tate galleries

A version in coloured chalks, dated 1880.

Rossetti's eighth and final version of ''Proserpine'', now in the [[Birmingham Museum and Art Gallery

Category:Paintings by Dante Gabriel Rossetti

Category:Collection of Birmingham Museum and Art Gallery

Image:8th Rossetti Proserpine cropped.jpeg

List of paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Proserpina (chalks).jpg


Proserpine (Rossetti)

Prompt: Focus on Proserpine (Rossetti) and explain the History.

In his Proserpine, the artist illustrates in his typical Pre-Raphaelite style the Roman goddess Proserpina who lives in the underworld during Winter. Although Rossetti inscribed the date 1874 on the picture, he worked for seven years on eight separate canvases before he finished with it. His Proserpine, like his model Jane Morris, is an exquisitely beautiful woman, with delicate facial features, slender hands, and flawlessly pale skin set off by her thick raven hair. Rossetti painted it at a time when his mental health was extremely precarious and his love for Jane Morris was at its most obsessive.Rossetti wrote about ProserpineShe is represented in a gloomy corridor of her palace, with the fatal fruit in her hand. As she passes, a gleam strikes on the wall behind her from some inlet suddenly opened, and admitting for a moment the sight of the upper world; and she glances furtively towards it, immersed in thought. The incense-burner stands beside her as the attribute of a goddess. The ivy branch in the background may be taken as a symbol of clinging memory.Unable to decide as a young man whether to concentrate on painting or poetry, his work is infused with his poetic imagination and an individual interpretation of literary sources. His accompanying sonnet to this work is a poem of longing: "And still some heart unto some soul doth pine," (see sonnet below) carrying an inescapable allusion to his yearning to seduce Jane from her unhappy marriage with William Morris. Proserpine had been imprisoned in Pluto's underground realm for tasting the forbidden pomegranate. Jane, trapped by convention, was also tasting forbidden fruit.There is a deeper meaning in the painting as Rossetti stayed with Jane at Kelmscott Manor during the summer months each year and in winter she returned to stay with William Morris, thus paralleling Proserpine's freedom during summer.In Roman mythology, Proserpine, daughter of Jupiter and Ceres, was carried off to the Underworld (Hades) by Pluto, who married her despite her love for Adonis. When Ceres begged Jupiter to return her daughter to Earth, he agreed, on condition that Proserpine had not eaten any fruits in Hades. As Proserpine had eaten six pomegranate seeds, it was decreed that she should remain in Hades for six months of the year and be allowed on Earth for the other six.The symbolism in Rossetti's painting poignantly indicates Proserpine's plight, as well as Jane Morris's plight, torn between her husband, the father of her two adored daughters, and her lover. The pomegranate draws the viewer's eye, the colour of its flesh matching the colour of Proserpine's full lips. The ivy behind her, as Rossetti stated, represents clinging memory and the passing of time; the shadow on the wall is her time in Hades, the patch of sunlight, her glimpse of earth. Her dress, like spilling water, suggests the turning of the tides, and the incense burner denotes the subject as an immortal. Proserpine's saddened eyes, which are the same cold blue color as most of the painting, indirectly stare at the other realm. Overall, dark hues characterise the colour scheme of the piece.

Category:Paintings in the Tate galleries

A version in coloured chalks, dated 1880.

Rossetti's eighth and final version of ''Proserpine'', now in the [[Birmingham Museum and Art Gallery

Category:Paintings by Dante Gabriel Rossetti

Category:Collection of Birmingham Museum and Art Gallery

Image:8th Rossetti Proserpine cropped.jpeg

List of paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Proserpina (chalks).jpg


Proserpine (Rossetti)

Prompt: Explain the History of this artwork, Proserpine (Rossetti).

In his Proserpine, the artist illustrates in his typical Pre-Raphaelite style the Roman goddess Proserpina who lives in the underworld during Winter. Although Rossetti inscribed the date 1874 on the picture, he worked for seven years on eight separate canvases before he finished with it. His Proserpine, like his model Jane Morris, is an exquisitely beautiful woman, with delicate facial features, slender hands, and flawlessly pale skin set off by her thick raven hair. Rossetti painted it at a time when his mental health was extremely precarious and his love for Jane Morris was at its most obsessive.Rossetti wrote about ProserpineShe is represented in a gloomy corridor of her palace, with the fatal fruit in her hand. As she passes, a gleam strikes on the wall behind her from some inlet suddenly opened, and admitting for a moment the sight of the upper world; and she glances furtively towards it, immersed in thought. The incense-burner stands beside her as the attribute of a goddess. The ivy branch in the background may be taken as a symbol of clinging memory.Unable to decide as a young man whether to concentrate on painting or poetry, his work is infused with his poetic imagination and an individual interpretation of literary sources. His accompanying sonnet to this work is a poem of longing: "And still some heart unto some soul doth pine," (see sonnet below) carrying an inescapable allusion to his yearning to seduce Jane from her unhappy marriage with William Morris. Proserpine had been imprisoned in Pluto's underground realm for tasting the forbidden pomegranate. Jane, trapped by convention, was also tasting forbidden fruit.There is a deeper meaning in the painting as Rossetti stayed with Jane at Kelmscott Manor during the summer months each year and in winter she returned to stay with William Morris, thus paralleling Proserpine's freedom during summer.In Roman mythology, Proserpine, daughter of Jupiter and Ceres, was carried off to the Underworld (Hades) by Pluto, who married her despite her love for Adonis. When Ceres begged Jupiter to return her daughter to Earth, he agreed, on condition that Proserpine had not eaten any fruits in Hades. As Proserpine had eaten six pomegranate seeds, it was decreed that she should remain in Hades for six months of the year and be allowed on Earth for the other six.The symbolism in Rossetti's painting poignantly indicates Proserpine's plight, as well as Jane Morris's plight, torn between her husband, the father of her two adored daughters, and her lover. The pomegranate draws the viewer's eye, the colour of its flesh matching the colour of Proserpine's full lips. The ivy behind her, as Rossetti stated, represents clinging memory and the passing of time; the shadow on the wall is her time in Hades, the patch of sunlight, her glimpse of earth. Her dress, like spilling water, suggests the turning of the tides, and the incense burner denotes the subject as an immortal. Proserpine's saddened eyes, which are the same cold blue color as most of the painting, indirectly stare at the other realm. Overall, dark hues characterise the colour scheme of the piece.

Category:Paintings in the Tate galleries

A version in coloured chalks, dated 1880.

Rossetti's eighth and final version of ''Proserpine'', now in the [[Birmingham Museum and Art Gallery

Category:Paintings by Dante Gabriel Rossetti

Category:Collection of Birmingham Museum and Art Gallery

Image:8th Rossetti Proserpine cropped.jpeg

List of paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Proserpina (chalks).jpg


Proserpine (Rossetti)

Prompt: How does Proserpine (Rossetti) explain its History?

In his Proserpine, the artist illustrates in his typical Pre-Raphaelite style the Roman goddess Proserpina who lives in the underworld during Winter. Although Rossetti inscribed the date 1874 on the picture, he worked for seven years on eight separate canvases before he finished with it. His Proserpine, like his model Jane Morris, is an exquisitely beautiful woman, with delicate facial features, slender hands, and flawlessly pale skin set off by her thick raven hair. Rossetti painted it at a time when his mental health was extremely precarious and his love for Jane Morris was at its most obsessive.Rossetti wrote about ProserpineShe is represented in a gloomy corridor of her palace, with the fatal fruit in her hand. As she passes, a gleam strikes on the wall behind her from some inlet suddenly opened, and admitting for a moment the sight of the upper world; and she glances furtively towards it, immersed in thought. The incense-burner stands beside her as the attribute of a goddess. The ivy branch in the background may be taken as a symbol of clinging memory.Unable to decide as a young man whether to concentrate on painting or poetry, his work is infused with his poetic imagination and an individual interpretation of literary sources. His accompanying sonnet to this work is a poem of longing: "And still some heart unto some soul doth pine," (see sonnet below) carrying an inescapable allusion to his yearning to seduce Jane from her unhappy marriage with William Morris. Proserpine had been imprisoned in Pluto's underground realm for tasting the forbidden pomegranate. Jane, trapped by convention, was also tasting forbidden fruit.There is a deeper meaning in the painting as Rossetti stayed with Jane at Kelmscott Manor during the summer months each year and in winter she returned to stay with William Morris, thus paralleling Proserpine's freedom during summer.In Roman mythology, Proserpine, daughter of Jupiter and Ceres, was carried off to the Underworld (Hades) by Pluto, who married her despite her love for Adonis. When Ceres begged Jupiter to return her daughter to Earth, he agreed, on condition that Proserpine had not eaten any fruits in Hades. As Proserpine had eaten six pomegranate seeds, it was decreed that she should remain in Hades for six months of the year and be allowed on Earth for the other six.The symbolism in Rossetti's painting poignantly indicates Proserpine's plight, as well as Jane Morris's plight, torn between her husband, the father of her two adored daughters, and her lover. The pomegranate draws the viewer's eye, the colour of its flesh matching the colour of Proserpine's full lips. The ivy behind her, as Rossetti stated, represents clinging memory and the passing of time; the shadow on the wall is her time in Hades, the patch of sunlight, her glimpse of earth. Her dress, like spilling water, suggests the turning of the tides, and the incense burner denotes the subject as an immortal. Proserpine's saddened eyes, which are the same cold blue color as most of the painting, indirectly stare at the other realm. Overall, dark hues characterise the colour scheme of the piece.

Category:Paintings in the Tate galleries

A version in coloured chalks, dated 1880.

Rossetti's eighth and final version of ''Proserpine'', now in the [[Birmingham Museum and Art Gallery

Category:Paintings by Dante Gabriel Rossetti

Category:Collection of Birmingham Museum and Art Gallery

Image:8th Rossetti Proserpine cropped.jpeg

List of paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Proserpina (chalks).jpg


Proserpine (Rossetti)

Prompt: In Proserpine (Rossetti), how is the History discussed?

In his Proserpine, the artist illustrates in his typical Pre-Raphaelite style the Roman goddess Proserpina who lives in the underworld during Winter. Although Rossetti inscribed the date 1874 on the picture, he worked for seven years on eight separate canvases before he finished with it. His Proserpine, like his model Jane Morris, is an exquisitely beautiful woman, with delicate facial features, slender hands, and flawlessly pale skin set off by her thick raven hair. Rossetti painted it at a time when his mental health was extremely precarious and his love for Jane Morris was at its most obsessive.Rossetti wrote about ProserpineShe is represented in a gloomy corridor of her palace, with the fatal fruit in her hand. As she passes, a gleam strikes on the wall behind her from some inlet suddenly opened, and admitting for a moment the sight of the upper world; and she glances furtively towards it, immersed in thought. The incense-burner stands beside her as the attribute of a goddess. The ivy branch in the background may be taken as a symbol of clinging memory.Unable to decide as a young man whether to concentrate on painting or poetry, his work is infused with his poetic imagination and an individual interpretation of literary sources. His accompanying sonnet to this work is a poem of longing: "And still some heart unto some soul doth pine," (see sonnet below) carrying an inescapable allusion to his yearning to seduce Jane from her unhappy marriage with William Morris. Proserpine had been imprisoned in Pluto's underground realm for tasting the forbidden pomegranate. Jane, trapped by convention, was also tasting forbidden fruit.There is a deeper meaning in the painting as Rossetti stayed with Jane at Kelmscott Manor during the summer months each year and in winter she returned to stay with William Morris, thus paralleling Proserpine's freedom during summer.In Roman mythology, Proserpine, daughter of Jupiter and Ceres, was carried off to the Underworld (Hades) by Pluto, who married her despite her love for Adonis. When Ceres begged Jupiter to return her daughter to Earth, he agreed, on condition that Proserpine had not eaten any fruits in Hades. As Proserpine had eaten six pomegranate seeds, it was decreed that she should remain in Hades for six months of the year and be allowed on Earth for the other six.The symbolism in Rossetti's painting poignantly indicates Proserpine's plight, as well as Jane Morris's plight, torn between her husband, the father of her two adored daughters, and her lover. The pomegranate draws the viewer's eye, the colour of its flesh matching the colour of Proserpine's full lips. The ivy behind her, as Rossetti stated, represents clinging memory and the passing of time; the shadow on the wall is her time in Hades, the patch of sunlight, her glimpse of earth. Her dress, like spilling water, suggests the turning of the tides, and the incense burner denotes the subject as an immortal. Proserpine's saddened eyes, which are the same cold blue color as most of the painting, indirectly stare at the other realm. Overall, dark hues characterise the colour scheme of the piece.

Category:Paintings in the Tate galleries

A version in coloured chalks, dated 1880.

Rossetti's eighth and final version of ''Proserpine'', now in the [[Birmingham Museum and Art Gallery

Category:Paintings by Dante Gabriel Rossetti

Category:Collection of Birmingham Museum and Art Gallery

Image:8th Rossetti Proserpine cropped.jpeg

List of paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Proserpina (chalks).jpg


Proserpine (Rossetti)

Prompt: Focus on Proserpine (Rossetti) and explain the The inscribed sonnet.

On the top right of the canvas "Proserpina" is inscribed by the artist, followed by his sonnet in Italian. The same sonnet in English is inscribed on the frame:Afar away the light that brings cold cheerUnto this wall, – one instant and no moreAdmitted at my distant palace-doorAfar the flowers of Enna from this drearDire fruit, which, tasted once, must thrall me here.Afar those skies from this Tartarean greyThat chills me: and afar how far away,The nights that shall become the days that were.Afar from mine own self I seem, and wingStrange ways in thought, and listen for a sign:And still some heart unto some soul doth pine,(Whose sounds mine inner sense in fain to bring,Continually together murmuring) —'Woe me for thee, unhappy Proserpine'.— D. G. Rossetti The painting is signed and dated on a scroll at lower left: 'DANTE GABRIELE ROSSETTI RITRASSE NEL CAPODANNO DEL 1874' (in Italian) (Dante Gabriel Rossetti painted this at the beginning of 1874). The frame, designed by Rossetti, has roundels which resemble a section of a pomegranate, reflecting the sliced pomegranate in Proserpine's hand.

Category:Paintings in the Tate galleries

A version in coloured chalks, dated 1880.

Rossetti's eighth and final version of ''Proserpine'', now in the [[Birmingham Museum and Art Gallery

Category:Paintings by Dante Gabriel Rossetti

Category:Collection of Birmingham Museum and Art Gallery

Image:8th Rossetti Proserpine cropped.jpeg

List of paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Proserpina (chalks).jpg


Proserpine (Rossetti)

Prompt: Explain the The inscribed sonnet of this artwork, Proserpine (Rossetti).

On the top right of the canvas "Proserpina" is inscribed by the artist, followed by his sonnet in Italian. The same sonnet in English is inscribed on the frame:Afar away the light that brings cold cheerUnto this wall, – one instant and no moreAdmitted at my distant palace-doorAfar the flowers of Enna from this drearDire fruit, which, tasted once, must thrall me here.Afar those skies from this Tartarean greyThat chills me: and afar how far away,The nights that shall become the days that were.Afar from mine own self I seem, and wingStrange ways in thought, and listen for a sign:And still some heart unto some soul doth pine,(Whose sounds mine inner sense in fain to bring,Continually together murmuring) —'Woe me for thee, unhappy Proserpine'.— D. G. Rossetti The painting is signed and dated on a scroll at lower left: 'DANTE GABRIELE ROSSETTI RITRASSE NEL CAPODANNO DEL 1874' (in Italian) (Dante Gabriel Rossetti painted this at the beginning of 1874). The frame, designed by Rossetti, has roundels which resemble a section of a pomegranate, reflecting the sliced pomegranate in Proserpine's hand.

Category:Paintings in the Tate galleries

A version in coloured chalks, dated 1880.

Rossetti's eighth and final version of ''Proserpine'', now in the [[Birmingham Museum and Art Gallery

Category:Paintings by Dante Gabriel Rossetti

Category:Collection of Birmingham Museum and Art Gallery

Image:8th Rossetti Proserpine cropped.jpeg

List of paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Proserpina (chalks).jpg


Proserpine (Rossetti)

Prompt: How does Proserpine (Rossetti) explain its The inscribed sonnet?

On the top right of the canvas "Proserpina" is inscribed by the artist, followed by his sonnet in Italian. The same sonnet in English is inscribed on the frame:Afar away the light that brings cold cheerUnto this wall, – one instant and no moreAdmitted at my distant palace-doorAfar the flowers of Enna from this drearDire fruit, which, tasted once, must thrall me here.Afar those skies from this Tartarean greyThat chills me: and afar how far away,The nights that shall become the days that were.Afar from mine own self I seem, and wingStrange ways in thought, and listen for a sign:And still some heart unto some soul doth pine,(Whose sounds mine inner sense in fain to bring,Continually together murmuring) —'Woe me for thee, unhappy Proserpine'.— D. G. Rossetti The painting is signed and dated on a scroll at lower left: 'DANTE GABRIELE ROSSETTI RITRASSE NEL CAPODANNO DEL 1874' (in Italian) (Dante Gabriel Rossetti painted this at the beginning of 1874). The frame, designed by Rossetti, has roundels which resemble a section of a pomegranate, reflecting the sliced pomegranate in Proserpine's hand.

Category:Paintings in the Tate galleries

A version in coloured chalks, dated 1880.

Rossetti's eighth and final version of ''Proserpine'', now in the [[Birmingham Museum and Art Gallery

Category:Paintings by Dante Gabriel Rossetti

Category:Collection of Birmingham Museum and Art Gallery

Image:8th Rossetti Proserpine cropped.jpeg

List of paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Proserpina (chalks).jpg


Proserpine (Rossetti)

Prompt: In Proserpine (Rossetti), how is the The inscribed sonnet discussed?

On the top right of the canvas "Proserpina" is inscribed by the artist, followed by his sonnet in Italian. The same sonnet in English is inscribed on the frame:Afar away the light that brings cold cheerUnto this wall, – one instant and no moreAdmitted at my distant palace-doorAfar the flowers of Enna from this drearDire fruit, which, tasted once, must thrall me here.Afar those skies from this Tartarean greyThat chills me: and afar how far away,The nights that shall become the days that were.Afar from mine own self I seem, and wingStrange ways in thought, and listen for a sign:And still some heart unto some soul doth pine,(Whose sounds mine inner sense in fain to bring,Continually together murmuring) —'Woe me for thee, unhappy Proserpine'.— D. G. Rossetti The painting is signed and dated on a scroll at lower left: 'DANTE GABRIELE ROSSETTI RITRASSE NEL CAPODANNO DEL 1874' (in Italian) (Dante Gabriel Rossetti painted this at the beginning of 1874). The frame, designed by Rossetti, has roundels which resemble a section of a pomegranate, reflecting the sliced pomegranate in Proserpine's hand.

Category:Paintings in the Tate galleries

A version in coloured chalks, dated 1880.

Rossetti's eighth and final version of ''Proserpine'', now in the [[Birmingham Museum and Art Gallery

Category:Paintings by Dante Gabriel Rossetti

Category:Collection of Birmingham Museum and Art Gallery

Image:8th Rossetti Proserpine cropped.jpeg

List of paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Proserpina (chalks).jpg


Proserpine (Rossetti)

Prompt: Focus on Proserpine (Rossetti) and explain the Display.

Leyland commissioned eighteen paintings from Rossetti, not counting unfulfilled commissions. Soon after Leyland acquired his first Rossetti painting, he and Rossetti explored the idea of a Rossetti triptych, which was eventually formed with Mnemosyne, The Blessed Damozel, and Proserpine. Three additional Rossetti paintings were then hung in Leyland's drawing room, all of which Leyland called "stunners."

Category:Paintings in the Tate galleries

A version in coloured chalks, dated 1880.

Rossetti's eighth and final version of ''Proserpine'', now in the [[Birmingham Museum and Art Gallery

Category:Paintings by Dante Gabriel Rossetti

Category:Collection of Birmingham Museum and Art Gallery

Image:8th Rossetti Proserpine cropped.jpeg

List of paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Proserpina (chalks).jpg