Madonna Litta

Prompt: In Madonna Litta, how is the Provenance of the History explained?

It has been speculated that Leonardo might have taken the Madonna Litta with him to Venice in March 1500, as the diarist Marcantonio Michiel apparently recorded its presence in the Ca' Contarini in that city in 1543:There is a little picture, of a foot or a little more, of an Our Lady, half length, who gives milk to the little boy, coloured by the hand of Leonardo da Vinci, a work of great power and highly finished.The earliest print of the composition is Venetian, by an artist in the circle of Zoan Andrea, and at least one painted copy by the Venetian school is known, in the Museo di Castelvecchio in Verona.In 1784, the earliest secure date in its provenance, the painting was bought by Prince Alberico XII di Belgioioso from one Giuseppe Ro. After Belgioioso's death in 1813 it passed into the collection of the Litta family, from whom it takes its current name. In 1865 the Russian Tsar Alexander II acquired the panel from Count Antonio Litta, quondam minister to Saint Petersburg, for the Hermitage Museum, where it has been exhibited to this day. Upon acquiring the painting the Hermitage had it transferred from wood to canvas, when it was again repainted.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna Litta

Prompt: Describe the characteristics of the Provenance in Madonna Litta's History.

It has been speculated that Leonardo might have taken the Madonna Litta with him to Venice in March 1500, as the diarist Marcantonio Michiel apparently recorded its presence in the Ca' Contarini in that city in 1543:There is a little picture, of a foot or a little more, of an Our Lady, half length, who gives milk to the little boy, coloured by the hand of Leonardo da Vinci, a work of great power and highly finished.The earliest print of the composition is Venetian, by an artist in the circle of Zoan Andrea, and at least one painted copy by the Venetian school is known, in the Museo di Castelvecchio in Verona.In 1784, the earliest secure date in its provenance, the painting was bought by Prince Alberico XII di Belgioioso from one Giuseppe Ro. After Belgioioso's death in 1813 it passed into the collection of the Litta family, from whom it takes its current name. In 1865 the Russian Tsar Alexander II acquired the panel from Count Antonio Litta, quondam minister to Saint Petersburg, for the Hermitage Museum, where it has been exhibited to this day. Upon acquiring the painting the Hermitage had it transferred from wood to canvas, when it was again repainted.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna Litta

Prompt: Focus on Madonna Litta and explain the Attribution.

That the painting was regarded in Leonardo's lifetime as his work is suggested by the large number of copies made of it. A popular candidate for authorship is Giovanni Antonio Boltraffio. David Alan Brown argues that Marco d'Oggiono was responsible for the Madonna Litta as its composition is reflected in his later works, whereas it is not in those of Boltraffio. In the major exhibition on Leonardo's first Milanese period held at the National Gallery in London in 2011–12 the painting was attributed to Leonardo, but art historian Martin Kemp has remarked that this was "presumably a condition of the loan".Kemp said in 2017 that he regarded the painting as a Boltraffio.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna Litta

Prompt: Explain the Attribution of this artwork, Madonna Litta.

That the painting was regarded in Leonardo's lifetime as his work is suggested by the large number of copies made of it. A popular candidate for authorship is Giovanni Antonio Boltraffio. David Alan Brown argues that Marco d'Oggiono was responsible for the Madonna Litta as its composition is reflected in his later works, whereas it is not in those of Boltraffio. In the major exhibition on Leonardo's first Milanese period held at the National Gallery in London in 2011–12 the painting was attributed to Leonardo, but art historian Martin Kemp has remarked that this was "presumably a condition of the loan".Kemp said in 2017 that he regarded the painting as a Boltraffio.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna Litta

Prompt: How does Madonna Litta explain its Attribution?

That the painting was regarded in Leonardo's lifetime as his work is suggested by the large number of copies made of it. A popular candidate for authorship is Giovanni Antonio Boltraffio. David Alan Brown argues that Marco d'Oggiono was responsible for the Madonna Litta as its composition is reflected in his later works, whereas it is not in those of Boltraffio. In the major exhibition on Leonardo's first Milanese period held at the National Gallery in London in 2011–12 the painting was attributed to Leonardo, but art historian Martin Kemp has remarked that this was "presumably a condition of the loan".Kemp said in 2017 that he regarded the painting as a Boltraffio.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna Litta

Prompt: In Madonna Litta, how is the Attribution discussed?

That the painting was regarded in Leonardo's lifetime as his work is suggested by the large number of copies made of it. A popular candidate for authorship is Giovanni Antonio Boltraffio. David Alan Brown argues that Marco d'Oggiono was responsible for the Madonna Litta as its composition is reflected in his later works, whereas it is not in those of Boltraffio. In the major exhibition on Leonardo's first Milanese period held at the National Gallery in London in 2011–12 the painting was attributed to Leonardo, but art historian Martin Kemp has remarked that this was "presumably a condition of the loan".Kemp said in 2017 that he regarded the painting as a Boltraffio.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


The Peasant Wedding

Prompt: Focus on The Peasant Wedding and explain the abstract.

The Peasant Wedding is a 1567 genre painting by  the Dutch and Flemish Renaissance painter and printmaker Pieter Bruegel the Elder, one of his many depicting peasant life. It is now in the Kunsthistorisches Museum, Vienna. Pieter Bruegel the Elder enjoyed painting peasants and different aspects of their lives in so many of his paintings that he has been called Peasant-Bruegel, but he was an intellectual, and many of his paintings have a symbolic meaning as well as a moral aspect.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: Explain the abstract of this artwork, The Peasant Wedding.

The Peasant Wedding is a 1567 genre painting by  the Dutch and Flemish Renaissance painter and printmaker Pieter Bruegel the Elder, one of his many depicting peasant life. It is now in the Kunsthistorisches Museum, Vienna. Pieter Bruegel the Elder enjoyed painting peasants and different aspects of their lives in so many of his paintings that he has been called Peasant-Bruegel, but he was an intellectual, and many of his paintings have a symbolic meaning as well as a moral aspect.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: How does The Peasant Wedding explain its abstract?

The Peasant Wedding is a 1567 genre painting by  the Dutch and Flemish Renaissance painter and printmaker Pieter Bruegel the Elder, one of his many depicting peasant life. It is now in the Kunsthistorisches Museum, Vienna. Pieter Bruegel the Elder enjoyed painting peasants and different aspects of their lives in so many of his paintings that he has been called Peasant-Bruegel, but he was an intellectual, and many of his paintings have a symbolic meaning as well as a moral aspect.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: In The Peasant Wedding, how is the abstract discussed?

The Peasant Wedding is a 1567 genre painting by  the Dutch and Flemish Renaissance painter and printmaker Pieter Bruegel the Elder, one of his many depicting peasant life. It is now in the Kunsthistorisches Museum, Vienna. Pieter Bruegel the Elder enjoyed painting peasants and different aspects of their lives in so many of his paintings that he has been called Peasant-Bruegel, but he was an intellectual, and many of his paintings have a symbolic meaning as well as a moral aspect.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: Focus on The Peasant Wedding and explain the Scene.

The bride is in front of the green textile  wall-hanging, with a paper-crown hung above her head. She is also wearing a crown and sitting passively amidst the hearty eating and drinking around her. The bridegroom is not immediately obvious. The feast is in a barn in the summertime; two sheaves of grain with a rake recalls the work of harvesting, and the hard peasant life. Porters carry plates on a door taken off its hinges. The main food is bread, porridge and soup. Two pipers play the pijpzak, an unbreeched boy in the foreground licks a plate, a wealthy man at the far right is talking to a Franciscan friar, a dog emerges from under the table to snatch pieces of bread on the bench. The scene is said to accurately depict 16th-century peasant wedding customs. The door-carrier on the right appears to have an extra foot.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: Explain the Scene of this artwork, The Peasant Wedding.

The bride is in front of the green textile  wall-hanging, with a paper-crown hung above her head. She is also wearing a crown and sitting passively amidst the hearty eating and drinking around her. The bridegroom is not immediately obvious. The feast is in a barn in the summertime; two sheaves of grain with a rake recalls the work of harvesting, and the hard peasant life. Porters carry plates on a door taken off its hinges. The main food is bread, porridge and soup. Two pipers play the pijpzak, an unbreeched boy in the foreground licks a plate, a wealthy man at the far right is talking to a Franciscan friar, a dog emerges from under the table to snatch pieces of bread on the bench. The scene is said to accurately depict 16th-century peasant wedding customs. The door-carrier on the right appears to have an extra foot.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: How does The Peasant Wedding explain its Scene?

The bride is in front of the green textile  wall-hanging, with a paper-crown hung above her head. She is also wearing a crown and sitting passively amidst the hearty eating and drinking around her. The bridegroom is not immediately obvious. The feast is in a barn in the summertime; two sheaves of grain with a rake recalls the work of harvesting, and the hard peasant life. Porters carry plates on a door taken off its hinges. The main food is bread, porridge and soup. Two pipers play the pijpzak, an unbreeched boy in the foreground licks a plate, a wealthy man at the far right is talking to a Franciscan friar, a dog emerges from under the table to snatch pieces of bread on the bench. The scene is said to accurately depict 16th-century peasant wedding customs. The door-carrier on the right appears to have an extra foot.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: In The Peasant Wedding, how is the Scene discussed?

The bride is in front of the green textile  wall-hanging, with a paper-crown hung above her head. She is also wearing a crown and sitting passively amidst the hearty eating and drinking around her. The bridegroom is not immediately obvious. The feast is in a barn in the summertime; two sheaves of grain with a rake recalls the work of harvesting, and the hard peasant life. Porters carry plates on a door taken off its hinges. The main food is bread, porridge and soup. Two pipers play the pijpzak, an unbreeched boy in the foreground licks a plate, a wealthy man at the far right is talking to a Franciscan friar, a dog emerges from under the table to snatch pieces of bread on the bench. The scene is said to accurately depict 16th-century peasant wedding customs. The door-carrier on the right appears to have an extra foot.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: Focus on The Peasant Wedding and explain the The Groom.

There has been much conjecture as to the identity of the groom in this painting. The critics Gilbert Highet and Gustav Glück have argued that the groom is the man in the centre of the painting, wearing a dark coat and seen in profile, or the ill-bred son of a wealthy couple, seen against the far wall to the right of the bride, eating with a spoon. It has also been suggested that according to contemporary custom, the groom is not seated, but may be the man pouring out beer. According to the same custom, he may also be the man handing the plates of food to his guests from the near end of the table, wearing a red cap.In a Freudian vein, Rudy Rucker speculates:... the groom is the man in the red hat, passing food towards the bride. The motion of a husband, to penetrate the wife. Near him are no less than three phallic symbols pointing towards the wife: the man’s arm, the knife on the table, and the salt-cellar [salt shaker] on the table. At the end of the man’s arm is an ellipse of an angle-seen dish that is oriented and located in the right location to represent the bride’s vagina.Some authors have even suggested that the groom is not even included in the painting. Van der Elst speculated that this could be the depiction of an old Flemish proverb: It is a poor man who is not able to be at his own wedding. Some connect it with the biblical Wedding of Cana.Lindsay and Bernard Huppé speculated that the painting was a Christian allegory of corruption, depicting the corrupted Church destined to be the bride of Christ, but the groom has not appeared to claim his corrupt bride.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: Explain the The Groom of this artwork, The Peasant Wedding.

There has been much conjecture as to the identity of the groom in this painting. The critics Gilbert Highet and Gustav Glück have argued that the groom is the man in the centre of the painting, wearing a dark coat and seen in profile, or the ill-bred son of a wealthy couple, seen against the far wall to the right of the bride, eating with a spoon. It has also been suggested that according to contemporary custom, the groom is not seated, but may be the man pouring out beer. According to the same custom, he may also be the man handing the plates of food to his guests from the near end of the table, wearing a red cap.In a Freudian vein, Rudy Rucker speculates:... the groom is the man in the red hat, passing food towards the bride. The motion of a husband, to penetrate the wife. Near him are no less than three phallic symbols pointing towards the wife: the man’s arm, the knife on the table, and the salt-cellar [salt shaker] on the table. At the end of the man’s arm is an ellipse of an angle-seen dish that is oriented and located in the right location to represent the bride’s vagina.Some authors have even suggested that the groom is not even included in the painting. Van der Elst speculated that this could be the depiction of an old Flemish proverb: It is a poor man who is not able to be at his own wedding. Some connect it with the biblical Wedding of Cana.Lindsay and Bernard Huppé speculated that the painting was a Christian allegory of corruption, depicting the corrupted Church destined to be the bride of Christ, but the groom has not appeared to claim his corrupt bride.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: How does The Peasant Wedding explain its The Groom?

There has been much conjecture as to the identity of the groom in this painting. The critics Gilbert Highet and Gustav Glück have argued that the groom is the man in the centre of the painting, wearing a dark coat and seen in profile, or the ill-bred son of a wealthy couple, seen against the far wall to the right of the bride, eating with a spoon. It has also been suggested that according to contemporary custom, the groom is not seated, but may be the man pouring out beer. According to the same custom, he may also be the man handing the plates of food to his guests from the near end of the table, wearing a red cap.In a Freudian vein, Rudy Rucker speculates:... the groom is the man in the red hat, passing food towards the bride. The motion of a husband, to penetrate the wife. Near him are no less than three phallic symbols pointing towards the wife: the man’s arm, the knife on the table, and the salt-cellar [salt shaker] on the table. At the end of the man’s arm is an ellipse of an angle-seen dish that is oriented and located in the right location to represent the bride’s vagina.Some authors have even suggested that the groom is not even included in the painting. Van der Elst speculated that this could be the depiction of an old Flemish proverb: It is a poor man who is not able to be at his own wedding. Some connect it with the biblical Wedding of Cana.Lindsay and Bernard Huppé speculated that the painting was a Christian allegory of corruption, depicting the corrupted Church destined to be the bride of Christ, but the groom has not appeared to claim his corrupt bride.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: In The Peasant Wedding, how is the The Groom discussed?

There has been much conjecture as to the identity of the groom in this painting. The critics Gilbert Highet and Gustav Glück have argued that the groom is the man in the centre of the painting, wearing a dark coat and seen in profile, or the ill-bred son of a wealthy couple, seen against the far wall to the right of the bride, eating with a spoon. It has also been suggested that according to contemporary custom, the groom is not seated, but may be the man pouring out beer. According to the same custom, he may also be the man handing the plates of food to his guests from the near end of the table, wearing a red cap.In a Freudian vein, Rudy Rucker speculates:... the groom is the man in the red hat, passing food towards the bride. The motion of a husband, to penetrate the wife. Near him are no less than three phallic symbols pointing towards the wife: the man’s arm, the knife on the table, and the salt-cellar [salt shaker] on the table. At the end of the man’s arm is an ellipse of an angle-seen dish that is oriented and located in the right location to represent the bride’s vagina.Some authors have even suggested that the groom is not even included in the painting. Van der Elst speculated that this could be the depiction of an old Flemish proverb: It is a poor man who is not able to be at his own wedding. Some connect it with the biblical Wedding of Cana.Lindsay and Bernard Huppé speculated that the painting was a Christian allegory of corruption, depicting the corrupted Church destined to be the bride of Christ, but the groom has not appeared to claim his corrupt bride.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: Focus on The Peasant Wedding and explain the Mystery of the "third foot".

Many viewers have wondered why Bruegel appears to have given a third foot to the red-clad servant on the right, carrying the tray. Bruegel’s son, Brueghel the Younger, thought that this foot was an error or, at best, too confusing for viewers. His 1620 copy of his father’s painting solves the problem simply by eliminating the third foot altogether. However, an analysis by Claudine Majzels of the angles and the relative positions of the people involved suggests that the red-clad servant’s “third foot” is actually the extended left foot of the brown-clad man who is in a half-crouch transferring the plates to the table.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: Explain the Mystery of the "third foot" of this artwork, The Peasant Wedding.

Many viewers have wondered why Bruegel appears to have given a third foot to the red-clad servant on the right, carrying the tray. Bruegel’s son, Brueghel the Younger, thought that this foot was an error or, at best, too confusing for viewers. His 1620 copy of his father’s painting solves the problem simply by eliminating the third foot altogether. However, an analysis by Claudine Majzels of the angles and the relative positions of the people involved suggests that the red-clad servant’s “third foot” is actually the extended left foot of the brown-clad man who is in a half-crouch transferring the plates to the table.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: How does The Peasant Wedding explain its Mystery of the "third foot"?

Many viewers have wondered why Bruegel appears to have given a third foot to the red-clad servant on the right, carrying the tray. Bruegel’s son, Brueghel the Younger, thought that this foot was an error or, at best, too confusing for viewers. His 1620 copy of his father’s painting solves the problem simply by eliminating the third foot altogether. However, an analysis by Claudine Majzels of the angles and the relative positions of the people involved suggests that the red-clad servant’s “third foot” is actually the extended left foot of the brown-clad man who is in a half-crouch transferring the plates to the table.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: In The Peasant Wedding, how is the Mystery of the "third foot" discussed?

Many viewers have wondered why Bruegel appears to have given a third foot to the red-clad servant on the right, carrying the tray. Bruegel’s son, Brueghel the Younger, thought that this foot was an error or, at best, too confusing for viewers. His 1620 copy of his father’s painting solves the problem simply by eliminating the third foot altogether. However, an analysis by Claudine Majzels of the angles and the relative positions of the people involved suggests that the red-clad servant’s “third foot” is actually the extended left foot of the brown-clad man who is in a half-crouch transferring the plates to the table.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: Focus on The Peasant Wedding and explain the In Popular Culture.

The painting was parodied in Asterix in Belgium.Another parody was the postcard for the Belgian entry in the Eurovision Song Contest 1979.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: Explain the In Popular Culture of this artwork, The Peasant Wedding.

The painting was parodied in Asterix in Belgium.Another parody was the postcard for the Belgian entry in the Eurovision Song Contest 1979.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: How does The Peasant Wedding explain its In Popular Culture?

The painting was parodied in Asterix in Belgium.Another parody was the postcard for the Belgian entry in the Eurovision Song Contest 1979.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


The Peasant Wedding

Prompt: In The Peasant Wedding, how is the In Popular Culture discussed?

The painting was parodied in Asterix in Belgium.Another parody was the postcard for the Belgian entry in the Eurovision Song Contest 1979.

File:Bauernhochzeit (Kind mit Schüssel).jpg

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Category:Paintings in the Kunsthistorisches Museum


Ansidei Madonna

Prompt: Focus on Ansidei Madonna and explain the abstract.

The Ansidei Madonna (Italian: Pala Ansidei) is a 1505–1507 painting by the Italian High Renaissance artist Raphael, painted during his Florentine period. It shows the Blessed Virgin Mary sitting on a wooden throne, with the child Christ on her lap. On her right John the Baptist stands, on her left Saint Nicholas is reading.At the time the painting was commissioned, there were other paintings that made up the grouping for the altarpiece.  Of the predellas, the only that remains is Saint John the Baptist Preaching, the others are inexplicably lost.Both the main painting, "Ansidei Madonna", and the predella "Saint John the Baptist Preaching", are located at the National Gallery in London.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Explain the abstract of this artwork, Ansidei Madonna.

The Ansidei Madonna (Italian: Pala Ansidei) is a 1505–1507 painting by the Italian High Renaissance artist Raphael, painted during his Florentine period. It shows the Blessed Virgin Mary sitting on a wooden throne, with the child Christ on her lap. On her right John the Baptist stands, on her left Saint Nicholas is reading.At the time the painting was commissioned, there were other paintings that made up the grouping for the altarpiece.  Of the predellas, the only that remains is Saint John the Baptist Preaching, the others are inexplicably lost.Both the main painting, "Ansidei Madonna", and the predella "Saint John the Baptist Preaching", are located at the National Gallery in London.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: How does Ansidei Madonna explain its abstract?

The Ansidei Madonna (Italian: Pala Ansidei) is a 1505–1507 painting by the Italian High Renaissance artist Raphael, painted during his Florentine period. It shows the Blessed Virgin Mary sitting on a wooden throne, with the child Christ on her lap. On her right John the Baptist stands, on her left Saint Nicholas is reading.At the time the painting was commissioned, there were other paintings that made up the grouping for the altarpiece.  Of the predellas, the only that remains is Saint John the Baptist Preaching, the others are inexplicably lost.Both the main painting, "Ansidei Madonna", and the predella "Saint John the Baptist Preaching", are located at the National Gallery in London.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: In Ansidei Madonna, how is the abstract discussed?

The Ansidei Madonna (Italian: Pala Ansidei) is a 1505–1507 painting by the Italian High Renaissance artist Raphael, painted during his Florentine period. It shows the Blessed Virgin Mary sitting on a wooden throne, with the child Christ on her lap. On her right John the Baptist stands, on her left Saint Nicholas is reading.At the time the painting was commissioned, there were other paintings that made up the grouping for the altarpiece.  Of the predellas, the only that remains is Saint John the Baptist Preaching, the others are inexplicably lost.Both the main painting, "Ansidei Madonna", and the predella "Saint John the Baptist Preaching", are located at the National Gallery in London.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Focus on Ansidei Madonna and explain the The painting.

The Virgin sits formally on a high throne, with an adult Saint John the Baptist on the left, and Saint Nicholas of Bari to the right. Painted for effect rather than realism, the throne has no arms and the steps are very steep, but beautifully set off the arches above and the approach to the throne.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Explain the The painting of this artwork, Ansidei Madonna.

The Virgin sits formally on a high throne, with an adult Saint John the Baptist on the left, and Saint Nicholas of Bari to the right. Painted for effect rather than realism, the throne has no arms and the steps are very steep, but beautifully set off the arches above and the approach to the throne.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: How does Ansidei Madonna explain its The painting?

The Virgin sits formally on a high throne, with an adult Saint John the Baptist on the left, and Saint Nicholas of Bari to the right. Painted for effect rather than realism, the throne has no arms and the steps are very steep, but beautifully set off the arches above and the approach to the throne.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: In Ansidei Madonna, how is the The painting discussed?

The Virgin sits formally on a high throne, with an adult Saint John the Baptist on the left, and Saint Nicholas of Bari to the right. Painted for effect rather than realism, the throne has no arms and the steps are very steep, but beautifully set off the arches above and the approach to the throne.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: In the context of Ansidei Madonna, explain the Excellence through serenity and divinity and the The painting.

The Ansidei Madonna was greatly influenced by the strict expression of divinity of the Umbrian School within his Florentine Period. Above the Madonna's throne is inscribed "Hail, Mother of Christ." This compares to the more natural poses and interaction found in Madonna, the Christ Child and infant John the Baptist in paintings of his Roman period.Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, and as such an embodiment of the best of Christianity, for several reasons.  First, the execution was near perfect and well-weathered the test of centuries of time. The gold within the painting looks real, but was totally painted by affect. Secondly, another test of a great painting, the characters look serene.  Third, the painting attracts attention to the spirit or soul of a character, rather than their appearance. And, last, you see joy, contentment or beauty in the face of the subject, not negative connotations, such as pain or vileness.Each subject and the landscape of "Ansidei Madonna" evokes serenity and divinity:Madonna, by her complete devotion to her child,Christ child through his secure faith in his mother,St. John through his contemplative expression of his spiritual journey,Bishop Nicholas of Bari through spiritual knowledge, andthe soothing landscape and the open, infinite sky, closest to God.The three balls at Bishop Nicholas' feet may symbolize the holy trinity, or the three bags of gold he is said to have thrown into the window of a poor man's home for his daughters' welfare.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Explain the Excellence through serenity and divinity about the The painting of this artwork, Ansidei Madonna.

The Ansidei Madonna was greatly influenced by the strict expression of divinity of the Umbrian School within his Florentine Period. Above the Madonna's throne is inscribed "Hail, Mother of Christ." This compares to the more natural poses and interaction found in Madonna, the Christ Child and infant John the Baptist in paintings of his Roman period.Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, and as such an embodiment of the best of Christianity, for several reasons.  First, the execution was near perfect and well-weathered the test of centuries of time. The gold within the painting looks real, but was totally painted by affect. Secondly, another test of a great painting, the characters look serene.  Third, the painting attracts attention to the spirit or soul of a character, rather than their appearance. And, last, you see joy, contentment or beauty in the face of the subject, not negative connotations, such as pain or vileness.Each subject and the landscape of "Ansidei Madonna" evokes serenity and divinity:Madonna, by her complete devotion to her child,Christ child through his secure faith in his mother,St. John through his contemplative expression of his spiritual journey,Bishop Nicholas of Bari through spiritual knowledge, andthe soothing landscape and the open, infinite sky, closest to God.The three balls at Bishop Nicholas' feet may symbolize the holy trinity, or the three bags of gold he is said to have thrown into the window of a poor man's home for his daughters' welfare.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: In Ansidei Madonna, how is the Excellence through serenity and divinity of the The painting explained?

The Ansidei Madonna was greatly influenced by the strict expression of divinity of the Umbrian School within his Florentine Period. Above the Madonna's throne is inscribed "Hail, Mother of Christ." This compares to the more natural poses and interaction found in Madonna, the Christ Child and infant John the Baptist in paintings of his Roman period.Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, and as such an embodiment of the best of Christianity, for several reasons.  First, the execution was near perfect and well-weathered the test of centuries of time. The gold within the painting looks real, but was totally painted by affect. Secondly, another test of a great painting, the characters look serene.  Third, the painting attracts attention to the spirit or soul of a character, rather than their appearance. And, last, you see joy, contentment or beauty in the face of the subject, not negative connotations, such as pain or vileness.Each subject and the landscape of "Ansidei Madonna" evokes serenity and divinity:Madonna, by her complete devotion to her child,Christ child through his secure faith in his mother,St. John through his contemplative expression of his spiritual journey,Bishop Nicholas of Bari through spiritual knowledge, andthe soothing landscape and the open, infinite sky, closest to God.The three balls at Bishop Nicholas' feet may symbolize the holy trinity, or the three bags of gold he is said to have thrown into the window of a poor man's home for his daughters' welfare.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Describe the characteristics of the Excellence through serenity and divinity in Ansidei Madonna's The painting.

The Ansidei Madonna was greatly influenced by the strict expression of divinity of the Umbrian School within his Florentine Period. Above the Madonna's throne is inscribed "Hail, Mother of Christ." This compares to the more natural poses and interaction found in Madonna, the Christ Child and infant John the Baptist in paintings of his Roman period.Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, and as such an embodiment of the best of Christianity, for several reasons.  First, the execution was near perfect and well-weathered the test of centuries of time. The gold within the painting looks real, but was totally painted by affect. Secondly, another test of a great painting, the characters look serene.  Third, the painting attracts attention to the spirit or soul of a character, rather than their appearance. And, last, you see joy, contentment or beauty in the face of the subject, not negative connotations, such as pain or vileness.Each subject and the landscape of "Ansidei Madonna" evokes serenity and divinity:Madonna, by her complete devotion to her child,Christ child through his secure faith in his mother,St. John through his contemplative expression of his spiritual journey,Bishop Nicholas of Bari through spiritual knowledge, andthe soothing landscape and the open, infinite sky, closest to God.The three balls at Bishop Nicholas' feet may symbolize the holy trinity, or the three bags of gold he is said to have thrown into the window of a poor man's home for his daughters' welfare.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: In the context of Ansidei Madonna, explain the Young master and the The painting.

Raphael's years in Florence exposed him to a plethora of artistic influences, first his teacher Perugino and then others, such as Donatello's sculptured marble, Masaccio's frescoes, Michelangelo's David, Leonardo da Vinci's paintings, and so much more which Raphael used to develop his fine-tuned sense of style, composition and execution as seen in the "Ansidei Madonna".Raphael achieved excellence in Ansidei Madonna through execution of every minute detail. A master at the young age of twenty-three, Raphael brought new life to well-represented subjects, through careful, methodic performance.  Care is represented by what one does – and what one does not do, or more clearly: "There is a saying that a true artist is known best by what he omits."  Consider the landscape behind our subjects, it is clean and serene, not overdone with unnecessary detail.  When color is used, it is used decidedly and for effect, such as the jeweled robe, the chaplet of red coral.In 1508 Raphael arrived in Rome at the age of twenty-five and already a great reputation as a master of the arts, known for such works as "Madonna of the Grand Duke", "Madonna of the Goldfinch", "Ansidei Madonna" and more.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Explain the Young master about the The painting of this artwork, Ansidei Madonna.

Raphael's years in Florence exposed him to a plethora of artistic influences, first his teacher Perugino and then others, such as Donatello's sculptured marble, Masaccio's frescoes, Michelangelo's David, Leonardo da Vinci's paintings, and so much more which Raphael used to develop his fine-tuned sense of style, composition and execution as seen in the "Ansidei Madonna".Raphael achieved excellence in Ansidei Madonna through execution of every minute detail. A master at the young age of twenty-three, Raphael brought new life to well-represented subjects, through careful, methodic performance.  Care is represented by what one does – and what one does not do, or more clearly: "There is a saying that a true artist is known best by what he omits."  Consider the landscape behind our subjects, it is clean and serene, not overdone with unnecessary detail.  When color is used, it is used decidedly and for effect, such as the jeweled robe, the chaplet of red coral.In 1508 Raphael arrived in Rome at the age of twenty-five and already a great reputation as a master of the arts, known for such works as "Madonna of the Grand Duke", "Madonna of the Goldfinch", "Ansidei Madonna" and more.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: In Ansidei Madonna, how is the Young master of the The painting explained?

Raphael's years in Florence exposed him to a plethora of artistic influences, first his teacher Perugino and then others, such as Donatello's sculptured marble, Masaccio's frescoes, Michelangelo's David, Leonardo da Vinci's paintings, and so much more which Raphael used to develop his fine-tuned sense of style, composition and execution as seen in the "Ansidei Madonna".Raphael achieved excellence in Ansidei Madonna through execution of every minute detail. A master at the young age of twenty-three, Raphael brought new life to well-represented subjects, through careful, methodic performance.  Care is represented by what one does – and what one does not do, or more clearly: "There is a saying that a true artist is known best by what he omits."  Consider the landscape behind our subjects, it is clean and serene, not overdone with unnecessary detail.  When color is used, it is used decidedly and for effect, such as the jeweled robe, the chaplet of red coral.In 1508 Raphael arrived in Rome at the age of twenty-five and already a great reputation as a master of the arts, known for such works as "Madonna of the Grand Duke", "Madonna of the Goldfinch", "Ansidei Madonna" and more.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Describe the characteristics of the Young master in Ansidei Madonna's The painting.

Raphael's years in Florence exposed him to a plethora of artistic influences, first his teacher Perugino and then others, such as Donatello's sculptured marble, Masaccio's frescoes, Michelangelo's David, Leonardo da Vinci's paintings, and so much more which Raphael used to develop his fine-tuned sense of style, composition and execution as seen in the "Ansidei Madonna".Raphael achieved excellence in Ansidei Madonna through execution of every minute detail. A master at the young age of twenty-three, Raphael brought new life to well-represented subjects, through careful, methodic performance.  Care is represented by what one does – and what one does not do, or more clearly: "There is a saying that a true artist is known best by what he omits."  Consider the landscape behind our subjects, it is clean and serene, not overdone with unnecessary detail.  When color is used, it is used decidedly and for effect, such as the jeweled robe, the chaplet of red coral.In 1508 Raphael arrived in Rome at the age of twenty-five and already a great reputation as a master of the arts, known for such works as "Madonna of the Grand Duke", "Madonna of the Goldfinch", "Ansidei Madonna" and more.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: In the context of Ansidei Madonna, explain the Isolated characters of the Umbrian school and the The painting.

The Virgin Mary, Saint John and Bishop Nicholas are isolated from one another, without interchange, a style common in the Umbrian school, and particularly Perugino.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Explain the Isolated characters of the Umbrian school about the The painting of this artwork, Ansidei Madonna.

The Virgin Mary, Saint John and Bishop Nicholas are isolated from one another, without interchange, a style common in the Umbrian school, and particularly Perugino.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: In Ansidei Madonna, how is the Isolated characters of the Umbrian school of the The painting explained?

The Virgin Mary, Saint John and Bishop Nicholas are isolated from one another, without interchange, a style common in the Umbrian school, and particularly Perugino.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Describe the characteristics of the Isolated characters of the Umbrian school in Ansidei Madonna's The painting.

The Virgin Mary, Saint John and Bishop Nicholas are isolated from one another, without interchange, a style common in the Umbrian school, and particularly Perugino.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Focus on Ansidei Madonna and explain the Commission and provenance.

Niccolò Ansidei commissioned Raphael to paint an altarpiece of a group of paintings titled "The Madonna and Child with Saint John the Baptist and Saint Nicholas of Bari (The Ansidei Madonna)" for his family chapel dedicated to Saint Nicholas in the church of San Fiorenzo, Perugia.Two paintings formed the predella for Raphael's altarpiece the "Ansidei Madonna." The first, "Saint John the Baptist Preaching", was placed beneath the image of Saint John in the main altarpiece, and is now owned by the National Gallery. The panels that depicted her betrothal, positioned below the Virgin and Child, and another below Saint Nicholas of one of his miracles have not survived.There is some question about the date, or dates, of the painting.  Original understanding was that the painting was begun in 1505, fitting with Raphael's style at that time, strongly influenced by Perugino. Careful observation revealed that the painting was dated 1507.  One can fairly reasonably assume, however, based upon Raphael's style, that the work was started in 1505 and finished in 1507.The chapel that housed the "Ansidei Madonna" was dismantled in 1763 when the church of San Fiorenzo was remodeled.  The chapel was reassembled and now contains a 19th-century copy of its original altarpiece, the "Ansidei Madonna", by Raphael. The work was bought by young Lord Robert Spenser in 1764, for an undisclosed, but apparently large sum of money as a gift to his brother, the 4th Duke of Marlborough. Placed in Blenheim Palace, one of the most magnificent buildings in Europe and home of the Duke of Marlborough, the work was sometimes known as the "Blenheim Madonna.""Ansidei Madonna", considered "one of the most perfect pictures of the world", of the Blenheim Collection was sold by George Spencer-Churchill, 8th Duke of Marlborough, under the Lord Cairn's Act for £75,000 or nearly unanimously cited at £70,000, which was about $350,000, to the London National Gallery in 1885.  At the time, this was three times the highest amount paid for a painting, likely in large part because there were few Raphael paintings placed in foreign galleries at that time.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael


Ansidei Madonna

Prompt: Explain the Commission and provenance of this artwork, Ansidei Madonna.

Niccolò Ansidei commissioned Raphael to paint an altarpiece of a group of paintings titled "The Madonna and Child with Saint John the Baptist and Saint Nicholas of Bari (The Ansidei Madonna)" for his family chapel dedicated to Saint Nicholas in the church of San Fiorenzo, Perugia.Two paintings formed the predella for Raphael's altarpiece the "Ansidei Madonna." The first, "Saint John the Baptist Preaching", was placed beneath the image of Saint John in the main altarpiece, and is now owned by the National Gallery. The panels that depicted her betrothal, positioned below the Virgin and Child, and another below Saint Nicholas of one of his miracles have not survived.There is some question about the date, or dates, of the painting.  Original understanding was that the painting was begun in 1505, fitting with Raphael's style at that time, strongly influenced by Perugino. Careful observation revealed that the painting was dated 1507.  One can fairly reasonably assume, however, based upon Raphael's style, that the work was started in 1505 and finished in 1507.The chapel that housed the "Ansidei Madonna" was dismantled in 1763 when the church of San Fiorenzo was remodeled.  The chapel was reassembled and now contains a 19th-century copy of its original altarpiece, the "Ansidei Madonna", by Raphael. The work was bought by young Lord Robert Spenser in 1764, for an undisclosed, but apparently large sum of money as a gift to his brother, the 4th Duke of Marlborough. Placed in Blenheim Palace, one of the most magnificent buildings in Europe and home of the Duke of Marlborough, the work was sometimes known as the "Blenheim Madonna.""Ansidei Madonna", considered "one of the most perfect pictures of the world", of the Blenheim Collection was sold by George Spencer-Churchill, 8th Duke of Marlborough, under the Lord Cairn's Act for £75,000 or nearly unanimously cited at £70,000, which was about $350,000, to the London National Gallery in 1885.  At the time, this was three times the highest amount paid for a painting, likely in large part because there were few Raphael paintings placed in foreign galleries at that time.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael


Ansidei Madonna

Prompt: How does Ansidei Madonna explain its Commission and provenance?

Niccolò Ansidei commissioned Raphael to paint an altarpiece of a group of paintings titled "The Madonna and Child with Saint John the Baptist and Saint Nicholas of Bari (The Ansidei Madonna)" for his family chapel dedicated to Saint Nicholas in the church of San Fiorenzo, Perugia.Two paintings formed the predella for Raphael's altarpiece the "Ansidei Madonna." The first, "Saint John the Baptist Preaching", was placed beneath the image of Saint John in the main altarpiece, and is now owned by the National Gallery. The panels that depicted her betrothal, positioned below the Virgin and Child, and another below Saint Nicholas of one of his miracles have not survived.There is some question about the date, or dates, of the painting.  Original understanding was that the painting was begun in 1505, fitting with Raphael's style at that time, strongly influenced by Perugino. Careful observation revealed that the painting was dated 1507.  One can fairly reasonably assume, however, based upon Raphael's style, that the work was started in 1505 and finished in 1507.The chapel that housed the "Ansidei Madonna" was dismantled in 1763 when the church of San Fiorenzo was remodeled.  The chapel was reassembled and now contains a 19th-century copy of its original altarpiece, the "Ansidei Madonna", by Raphael. The work was bought by young Lord Robert Spenser in 1764, for an undisclosed, but apparently large sum of money as a gift to his brother, the 4th Duke of Marlborough. Placed in Blenheim Palace, one of the most magnificent buildings in Europe and home of the Duke of Marlborough, the work was sometimes known as the "Blenheim Madonna.""Ansidei Madonna", considered "one of the most perfect pictures of the world", of the Blenheim Collection was sold by George Spencer-Churchill, 8th Duke of Marlborough, under the Lord Cairn's Act for £75,000 or nearly unanimously cited at £70,000, which was about $350,000, to the London National Gallery in 1885.  At the time, this was three times the highest amount paid for a painting, likely in large part because there were few Raphael paintings placed in foreign galleries at that time.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael


Ansidei Madonna

Prompt: In Ansidei Madonna, how is the Commission and provenance discussed?

Niccolò Ansidei commissioned Raphael to paint an altarpiece of a group of paintings titled "The Madonna and Child with Saint John the Baptist and Saint Nicholas of Bari (The Ansidei Madonna)" for his family chapel dedicated to Saint Nicholas in the church of San Fiorenzo, Perugia.Two paintings formed the predella for Raphael's altarpiece the "Ansidei Madonna." The first, "Saint John the Baptist Preaching", was placed beneath the image of Saint John in the main altarpiece, and is now owned by the National Gallery. The panels that depicted her betrothal, positioned below the Virgin and Child, and another below Saint Nicholas of one of his miracles have not survived.There is some question about the date, or dates, of the painting.  Original understanding was that the painting was begun in 1505, fitting with Raphael's style at that time, strongly influenced by Perugino. Careful observation revealed that the painting was dated 1507.  One can fairly reasonably assume, however, based upon Raphael's style, that the work was started in 1505 and finished in 1507.The chapel that housed the "Ansidei Madonna" was dismantled in 1763 when the church of San Fiorenzo was remodeled.  The chapel was reassembled and now contains a 19th-century copy of its original altarpiece, the "Ansidei Madonna", by Raphael. The work was bought by young Lord Robert Spenser in 1764, for an undisclosed, but apparently large sum of money as a gift to his brother, the 4th Duke of Marlborough. Placed in Blenheim Palace, one of the most magnificent buildings in Europe and home of the Duke of Marlborough, the work was sometimes known as the "Blenheim Madonna.""Ansidei Madonna", considered "one of the most perfect pictures of the world", of the Blenheim Collection was sold by George Spencer-Churchill, 8th Duke of Marlborough, under the Lord Cairn's Act for £75,000 or nearly unanimously cited at £70,000, which was about $350,000, to the London National Gallery in 1885.  At the time, this was three times the highest amount paid for a painting, likely in large part because there were few Raphael paintings placed in foreign galleries at that time.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael


Christ Among the Doctors (Dürer)

Prompt: Focus on Christ Among the Doctors (Dürer) and explain the abstract.

Christ among the Doctors is an oil painting by Albrecht Dürer, dating to 1506, now in the Museo Thyssen-Bornemisza, Madrid, Spain. The work belongs to the time of Dürer's sojourn in Italy, and was according to its inscription executed incidentally in five days while he was working on the Feast of the Rosary altarpiece in Venice. The work was influenced by Leonardo da Vinci and possibly based on the most probably earlier painting by Cima da Conegliano on the same theme.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Explain the abstract of this artwork, Christ Among the Doctors (Dürer).

Christ among the Doctors is an oil painting by Albrecht Dürer, dating to 1506, now in the Museo Thyssen-Bornemisza, Madrid, Spain. The work belongs to the time of Dürer's sojourn in Italy, and was according to its inscription executed incidentally in five days while he was working on the Feast of the Rosary altarpiece in Venice. The work was influenced by Leonardo da Vinci and possibly based on the most probably earlier painting by Cima da Conegliano on the same theme.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: How does Christ Among the Doctors (Dürer) explain its abstract?

Christ among the Doctors is an oil painting by Albrecht Dürer, dating to 1506, now in the Museo Thyssen-Bornemisza, Madrid, Spain. The work belongs to the time of Dürer's sojourn in Italy, and was according to its inscription executed incidentally in five days while he was working on the Feast of the Rosary altarpiece in Venice. The work was influenced by Leonardo da Vinci and possibly based on the most probably earlier painting by Cima da Conegliano on the same theme.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the abstract discussed?

Christ among the Doctors is an oil painting by Albrecht Dürer, dating to 1506, now in the Museo Thyssen-Bornemisza, Madrid, Spain. The work belongs to the time of Dürer's sojourn in Italy, and was according to its inscription executed incidentally in five days while he was working on the Feast of the Rosary altarpiece in Venice. The work was influenced by Leonardo da Vinci and possibly based on the most probably earlier painting by Cima da Conegliano on the same theme.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Focus on Christ Among the Doctors (Dürer) and explain the Conception.

The topic of the panel painting is the Finding in the Temple episode from Jesus' childhood, found in the Gospel of Luke (2:41–52). On an annual pilgrimage of the holy family to Jerusalem for Passover the twelve-year-old child got lost and found again after three days in a temple debating with scholars executing His Father's business.The subject had already been treated by Dürer in a panel of the Seven Sorrows Polyptych (1494–1497) executed by his workshop, and about ten years later in a woodcut of the Life of the Virgin series. However, in this work the German artist adopted a dense composition of half-figures, which was introduced by Andrea Mantegna in his The Presentation at the Temple (c. 1454, Berlin) and afterwards present in all Northern Italian schools including Venice. Though Dürer emphasised the focus on faces and hands (and books) even more.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Explain the Conception of this artwork, Christ Among the Doctors (Dürer).

The topic of the panel painting is the Finding in the Temple episode from Jesus' childhood, found in the Gospel of Luke (2:41–52). On an annual pilgrimage of the holy family to Jerusalem for Passover the twelve-year-old child got lost and found again after three days in a temple debating with scholars executing His Father's business.The subject had already been treated by Dürer in a panel of the Seven Sorrows Polyptych (1494–1497) executed by his workshop, and about ten years later in a woodcut of the Life of the Virgin series. However, in this work the German artist adopted a dense composition of half-figures, which was introduced by Andrea Mantegna in his The Presentation at the Temple (c. 1454, Berlin) and afterwards present in all Northern Italian schools including Venice. Though Dürer emphasised the focus on faces and hands (and books) even more.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: How does Christ Among the Doctors (Dürer) explain its Conception?

The topic of the panel painting is the Finding in the Temple episode from Jesus' childhood, found in the Gospel of Luke (2:41–52). On an annual pilgrimage of the holy family to Jerusalem for Passover the twelve-year-old child got lost and found again after three days in a temple debating with scholars executing His Father's business.The subject had already been treated by Dürer in a panel of the Seven Sorrows Polyptych (1494–1497) executed by his workshop, and about ten years later in a woodcut of the Life of the Virgin series. However, in this work the German artist adopted a dense composition of half-figures, which was introduced by Andrea Mantegna in his The Presentation at the Temple (c. 1454, Berlin) and afterwards present in all Northern Italian schools including Venice. Though Dürer emphasised the focus on faces and hands (and books) even more.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the Conception discussed?

The topic of the panel painting is the Finding in the Temple episode from Jesus' childhood, found in the Gospel of Luke (2:41–52). On an annual pilgrimage of the holy family to Jerusalem for Passover the twelve-year-old child got lost and found again after three days in a temple debating with scholars executing His Father's business.The subject had already been treated by Dürer in a panel of the Seven Sorrows Polyptych (1494–1497) executed by his workshop, and about ten years later in a woodcut of the Life of the Virgin series. However, in this work the German artist adopted a dense composition of half-figures, which was introduced by Andrea Mantegna in his The Presentation at the Temple (c. 1454, Berlin) and afterwards present in all Northern Italian schools including Venice. Though Dürer emphasised the focus on faces and hands (and books) even more.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In the context of Christ Among the Doctors (Dürer), explain the Preparatory drawings and the Conception.

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper (carta azzurra). The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head (originally with the head of the lute playing angel for the Rosary panel on one sheet now cut) and a hand holding a book (both in the Albertina, Wien), a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture (both in the Germanische Nationalmuseum, Nuremberg).The four preparatory brush drawings on blue Venetian paper (1506)

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Explain the Preparatory drawings about the Conception of this artwork, Christ Among the Doctors (Dürer).

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper (carta azzurra). The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head (originally with the head of the lute playing angel for the Rosary panel on one sheet now cut) and a hand holding a book (both in the Albertina, Wien), a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture (both in the Germanische Nationalmuseum, Nuremberg).The four preparatory brush drawings on blue Venetian paper (1506)

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the Preparatory drawings of the Conception explained?

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper (carta azzurra). The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head (originally with the head of the lute playing angel for the Rosary panel on one sheet now cut) and a hand holding a book (both in the Albertina, Wien), a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture (both in the Germanische Nationalmuseum, Nuremberg).The four preparatory brush drawings on blue Venetian paper (1506)

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Describe the characteristics of the Preparatory drawings in Christ Among the Doctors (Dürer)'s Conception.

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper (carta azzurra). The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head (originally with the head of the lute playing angel for the Rosary panel on one sheet now cut) and a hand holding a book (both in the Albertina, Wien), a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture (both in the Germanische Nationalmuseum, Nuremberg).The four preparatory brush drawings on blue Venetian paper (1506)

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In the context of Christ Among the Doctors (Dürer), explain the The manner of painting and the Conception.

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Explain the The manner of painting about the Conception of this artwork, Christ Among the Doctors (Dürer).

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the The manner of painting of the Conception explained?

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Describe the characteristics of the The manner of painting in Christ Among the Doctors (Dürer)'s Conception.

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In the context of Christ Among the Doctors (Dürer), explain the "Made in five days" and the Conception.

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque (cartellino) or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church (which brought him immediate fame that also radiated back to Nuremberg). And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech" (seltsame Red) even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" (Panofsky), in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" (Und diese Gab ist wunderlich), Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''