La Fornarina

Prompt: In the context of La Fornarina, explain the Breast cancer and the Identity of the figure.

Positioned a quarter of the way away from the viewer, it has been suggested by professor Carlos Hugo Espinel that the right hand over the left breast reveals a cancerous breast tumor. Even with the positioning, one can identify differences between her two breasts. The right breast is perceived as a fully formed and proportional breast, accompanied by healthy-looking skin and an unremarkable nipple upon a normal-looking areola. The viewer is given a better look at the left breast due to her positioning and thus can identify more problematic aspects that might not appear in the right breast. With the side view of the left breast, a viewer can see that it is enlarged and deformed by an indentation on the lower rim of the breast; the indentation begins where a possible mass ends. The mass extends from the woman's armpit medially along the lower half of her breast, and is seen to reach its apex at the spot just above her right index finger. Further evidence to a possible cancer is the sickly-blue hue to the skin of the left breast in relation to the healthy, pink undertones of the right one; the coloring is most prominent on the indentation and suspected tumor, but extends slightly above and below this area to the rest of the breast. Another possible indication of a cancerous tumor is that her left arm is swollen as a result of a lymph node in her armpit being enlarged. Enlarged lymph nodes and swelling are possible signs of a cancer diagnosis once metastasized.

Category:Collection of the Galleria Nazionale d'Arte Antica


La Fornarina

Prompt: Explain the Breast cancer about the Identity of the figure of this artwork, La Fornarina.

Positioned a quarter of the way away from the viewer, it has been suggested by professor Carlos Hugo Espinel that the right hand over the left breast reveals a cancerous breast tumor. Even with the positioning, one can identify differences between her two breasts. The right breast is perceived as a fully formed and proportional breast, accompanied by healthy-looking skin and an unremarkable nipple upon a normal-looking areola. The viewer is given a better look at the left breast due to her positioning and thus can identify more problematic aspects that might not appear in the right breast. With the side view of the left breast, a viewer can see that it is enlarged and deformed by an indentation on the lower rim of the breast; the indentation begins where a possible mass ends. The mass extends from the woman's armpit medially along the lower half of her breast, and is seen to reach its apex at the spot just above her right index finger. Further evidence to a possible cancer is the sickly-blue hue to the skin of the left breast in relation to the healthy, pink undertones of the right one; the coloring is most prominent on the indentation and suspected tumor, but extends slightly above and below this area to the rest of the breast. Another possible indication of a cancerous tumor is that her left arm is swollen as a result of a lymph node in her armpit being enlarged. Enlarged lymph nodes and swelling are possible signs of a cancer diagnosis once metastasized.

Category:Collection of the Galleria Nazionale d'Arte Antica


La Fornarina

Prompt: In La Fornarina, how is the Breast cancer of the Identity of the figure explained?

Positioned a quarter of the way away from the viewer, it has been suggested by professor Carlos Hugo Espinel that the right hand over the left breast reveals a cancerous breast tumor. Even with the positioning, one can identify differences between her two breasts. The right breast is perceived as a fully formed and proportional breast, accompanied by healthy-looking skin and an unremarkable nipple upon a normal-looking areola. The viewer is given a better look at the left breast due to her positioning and thus can identify more problematic aspects that might not appear in the right breast. With the side view of the left breast, a viewer can see that it is enlarged and deformed by an indentation on the lower rim of the breast; the indentation begins where a possible mass ends. The mass extends from the woman's armpit medially along the lower half of her breast, and is seen to reach its apex at the spot just above her right index finger. Further evidence to a possible cancer is the sickly-blue hue to the skin of the left breast in relation to the healthy, pink undertones of the right one; the coloring is most prominent on the indentation and suspected tumor, but extends slightly above and below this area to the rest of the breast. Another possible indication of a cancerous tumor is that her left arm is swollen as a result of a lymph node in her armpit being enlarged. Enlarged lymph nodes and swelling are possible signs of a cancer diagnosis once metastasized.

Category:Collection of the Galleria Nazionale d'Arte Antica


La Fornarina

Prompt: Describe the characteristics of the Breast cancer in La Fornarina's Identity of the figure.

Positioned a quarter of the way away from the viewer, it has been suggested by professor Carlos Hugo Espinel that the right hand over the left breast reveals a cancerous breast tumor. Even with the positioning, one can identify differences between her two breasts. The right breast is perceived as a fully formed and proportional breast, accompanied by healthy-looking skin and an unremarkable nipple upon a normal-looking areola. The viewer is given a better look at the left breast due to her positioning and thus can identify more problematic aspects that might not appear in the right breast. With the side view of the left breast, a viewer can see that it is enlarged and deformed by an indentation on the lower rim of the breast; the indentation begins where a possible mass ends. The mass extends from the woman's armpit medially along the lower half of her breast, and is seen to reach its apex at the spot just above her right index finger. Further evidence to a possible cancer is the sickly-blue hue to the skin of the left breast in relation to the healthy, pink undertones of the right one; the coloring is most prominent on the indentation and suspected tumor, but extends slightly above and below this area to the rest of the breast. Another possible indication of a cancerous tumor is that her left arm is swollen as a result of a lymph node in her armpit being enlarged. Enlarged lymph nodes and swelling are possible signs of a cancer diagnosis once metastasized.

Category:Collection of the Galleria Nazionale d'Arte Antica


La Fornarina

Prompt: In the context of La Fornarina, explain the La Fornarina as a witch and the Identity of the figure.

Muriel Segal's book Painted Ladies provides the theory that La Fornarina represents a witch. According to the author, during the time period that this painting was made, "the baker's daughter" did not indicate that a woman's father was in fact a baker, but a term used for a malevolent goddess. The goddess, referenced in Shakespeare's Ophelia character in the play Hamlet, is said to have been a cannibal owl-goddess. The owl-goddess is not specified in the play, but supposedly originates from hell; during this time, witches were seen as servants of Satan who practiced satanic magic. Segal states that La Fornarina was more fond of black cats than children, which at the time was not common because the main goal of most was to get married and procreate. Segal's interpretation differs from the belle donne theme in that she believes the figure herself is a witch and not a general depiction of witches. Jacob Burckhardt analyzes witch craft as neither good or evil, the women who practiced magic did so to support themselves by providing potions and spells for her patrons' desires. The physical features of Fornarina are completely unlike other painted women of the time; she was more healthy-looking with ample body parts (full lips, large breasts, wide hips, etc). Segal says the reason for this was because Raphael hated the wraith-like bodies that were the subjects of other artist's paintings.

Category:Collection of the Galleria Nazionale d'Arte Antica


La Fornarina

Prompt: Explain the La Fornarina as a witch about the Identity of the figure of this artwork, La Fornarina.

Muriel Segal's book Painted Ladies provides the theory that La Fornarina represents a witch. According to the author, during the time period that this painting was made, "the baker's daughter" did not indicate that a woman's father was in fact a baker, but a term used for a malevolent goddess. The goddess, referenced in Shakespeare's Ophelia character in the play Hamlet, is said to have been a cannibal owl-goddess. The owl-goddess is not specified in the play, but supposedly originates from hell; during this time, witches were seen as servants of Satan who practiced satanic magic. Segal states that La Fornarina was more fond of black cats than children, which at the time was not common because the main goal of most was to get married and procreate. Segal's interpretation differs from the belle donne theme in that she believes the figure herself is a witch and not a general depiction of witches. Jacob Burckhardt analyzes witch craft as neither good or evil, the women who practiced magic did so to support themselves by providing potions and spells for her patrons' desires. The physical features of Fornarina are completely unlike other painted women of the time; she was more healthy-looking with ample body parts (full lips, large breasts, wide hips, etc). Segal says the reason for this was because Raphael hated the wraith-like bodies that were the subjects of other artist's paintings.

Category:Collection of the Galleria Nazionale d'Arte Antica


La Fornarina

Prompt: In La Fornarina, how is the La Fornarina as a witch of the Identity of the figure explained?

Muriel Segal's book Painted Ladies provides the theory that La Fornarina represents a witch. According to the author, during the time period that this painting was made, "the baker's daughter" did not indicate that a woman's father was in fact a baker, but a term used for a malevolent goddess. The goddess, referenced in Shakespeare's Ophelia character in the play Hamlet, is said to have been a cannibal owl-goddess. The owl-goddess is not specified in the play, but supposedly originates from hell; during this time, witches were seen as servants of Satan who practiced satanic magic. Segal states that La Fornarina was more fond of black cats than children, which at the time was not common because the main goal of most was to get married and procreate. Segal's interpretation differs from the belle donne theme in that she believes the figure herself is a witch and not a general depiction of witches. Jacob Burckhardt analyzes witch craft as neither good or evil, the women who practiced magic did so to support themselves by providing potions and spells for her patrons' desires. The physical features of Fornarina are completely unlike other painted women of the time; she was more healthy-looking with ample body parts (full lips, large breasts, wide hips, etc). Segal says the reason for this was because Raphael hated the wraith-like bodies that were the subjects of other artist's paintings.

Category:Collection of the Galleria Nazionale d'Arte Antica


La Fornarina

Prompt: Describe the characteristics of the La Fornarina as a witch in La Fornarina's Identity of the figure.

Muriel Segal's book Painted Ladies provides the theory that La Fornarina represents a witch. According to the author, during the time period that this painting was made, "the baker's daughter" did not indicate that a woman's father was in fact a baker, but a term used for a malevolent goddess. The goddess, referenced in Shakespeare's Ophelia character in the play Hamlet, is said to have been a cannibal owl-goddess. The owl-goddess is not specified in the play, but supposedly originates from hell; during this time, witches were seen as servants of Satan who practiced satanic magic. Segal states that La Fornarina was more fond of black cats than children, which at the time was not common because the main goal of most was to get married and procreate. Segal's interpretation differs from the belle donne theme in that she believes the figure herself is a witch and not a general depiction of witches. Jacob Burckhardt analyzes witch craft as neither good or evil, the women who practiced magic did so to support themselves by providing potions and spells for her patrons' desires. The physical features of Fornarina are completely unlike other painted women of the time; she was more healthy-looking with ample body parts (full lips, large breasts, wide hips, etc). Segal says the reason for this was because Raphael hated the wraith-like bodies that were the subjects of other artist's paintings.

Category:Collection of the Galleria Nazionale d'Arte Antica


La Fornarina

Prompt: In the context of La Fornarina, explain the Sex work and the Identity of the figure.

Another theory is that Fornarina was in fact a sex worker and not Raphael's lover. However, Raphael's "signature" on the figure's armband could imply that he did have love for the figure, and possibly felt ownership of the woman. In the painting, the figure is half nude and is wearing a suggestive smile, almost in a "come hither" look. The placement of her slightly open righthand on her left breast shows her nipple and a good amount of her breast; she seems to be teasing the viewer in order to entice them to come closer. The softer facial expression gives an air of familiarity between the subject and the viewer; she is not blank and staring into the eyes of the viewer like portraits of wealthy women, but rather is looking towards the viewer with a half smile like a passing acquaintance. The subject is wearing a yellow scarf across her head that during the Renaissance implied that the woman was a sex worker. Yellow scarves were a requirement for "dishonest women" to wear, these women were ones who willingly took off their clothing for artists which resulted in inspiration for much of the nude art pieces during the Renaissance. If a woman was wearing a yellow scarf across her head, she could show her naked body without prosecution. Courtesans were widely used in European culture beginning during the Renaissance; their existence and their depiction was a way for people to explore sexual relationships based on the ideals of classical writings on the subject.

Category:Collection of the Galleria Nazionale d'Arte Antica


La Fornarina

Prompt: Explain the Sex work about the Identity of the figure of this artwork, La Fornarina.

Another theory is that Fornarina was in fact a sex worker and not Raphael's lover. However, Raphael's "signature" on the figure's armband could imply that he did have love for the figure, and possibly felt ownership of the woman. In the painting, the figure is half nude and is wearing a suggestive smile, almost in a "come hither" look. The placement of her slightly open righthand on her left breast shows her nipple and a good amount of her breast; she seems to be teasing the viewer in order to entice them to come closer. The softer facial expression gives an air of familiarity between the subject and the viewer; she is not blank and staring into the eyes of the viewer like portraits of wealthy women, but rather is looking towards the viewer with a half smile like a passing acquaintance. The subject is wearing a yellow scarf across her head that during the Renaissance implied that the woman was a sex worker. Yellow scarves were a requirement for "dishonest women" to wear, these women were ones who willingly took off their clothing for artists which resulted in inspiration for much of the nude art pieces during the Renaissance. If a woman was wearing a yellow scarf across her head, she could show her naked body without prosecution. Courtesans were widely used in European culture beginning during the Renaissance; their existence and their depiction was a way for people to explore sexual relationships based on the ideals of classical writings on the subject.

Category:Collection of the Galleria Nazionale d'Arte Antica


La Fornarina

Prompt: In La Fornarina, how is the Sex work of the Identity of the figure explained?

Another theory is that Fornarina was in fact a sex worker and not Raphael's lover. However, Raphael's "signature" on the figure's armband could imply that he did have love for the figure, and possibly felt ownership of the woman. In the painting, the figure is half nude and is wearing a suggestive smile, almost in a "come hither" look. The placement of her slightly open righthand on her left breast shows her nipple and a good amount of her breast; she seems to be teasing the viewer in order to entice them to come closer. The softer facial expression gives an air of familiarity between the subject and the viewer; she is not blank and staring into the eyes of the viewer like portraits of wealthy women, but rather is looking towards the viewer with a half smile like a passing acquaintance. The subject is wearing a yellow scarf across her head that during the Renaissance implied that the woman was a sex worker. Yellow scarves were a requirement for "dishonest women" to wear, these women were ones who willingly took off their clothing for artists which resulted in inspiration for much of the nude art pieces during the Renaissance. If a woman was wearing a yellow scarf across her head, she could show her naked body without prosecution. Courtesans were widely used in European culture beginning during the Renaissance; their existence and their depiction was a way for people to explore sexual relationships based on the ideals of classical writings on the subject.

Category:Collection of the Galleria Nazionale d'Arte Antica


La Fornarina

Prompt: Describe the characteristics of the Sex work in La Fornarina's Identity of the figure.

Another theory is that Fornarina was in fact a sex worker and not Raphael's lover. However, Raphael's "signature" on the figure's armband could imply that he did have love for the figure, and possibly felt ownership of the woman. In the painting, the figure is half nude and is wearing a suggestive smile, almost in a "come hither" look. The placement of her slightly open righthand on her left breast shows her nipple and a good amount of her breast; she seems to be teasing the viewer in order to entice them to come closer. The softer facial expression gives an air of familiarity between the subject and the viewer; she is not blank and staring into the eyes of the viewer like portraits of wealthy women, but rather is looking towards the viewer with a half smile like a passing acquaintance. The subject is wearing a yellow scarf across her head that during the Renaissance implied that the woman was a sex worker. Yellow scarves were a requirement for "dishonest women" to wear, these women were ones who willingly took off their clothing for artists which resulted in inspiration for much of the nude art pieces during the Renaissance. If a woman was wearing a yellow scarf across her head, she could show her naked body without prosecution. Courtesans were widely used in European culture beginning during the Renaissance; their existence and their depiction was a way for people to explore sexual relationships based on the ideals of classical writings on the subject.

Category:Collection of the Galleria Nazionale d'Arte Antica


Gabrielle d'Estrées et une de ses sœurs

Prompt: Focus on Gabrielle d'Estrées et une de ses sœurs and explain the abstract.

Gabrielle d'Estrées et une de ses soeurs (Gabrielle d'Estrées and one of her sisters) is a painting by an unknown artist dated c. 1594. It is in the Louvre in Paris and is usually thought to be the work of a painter from the Fontainebleau School.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: Explain the abstract of this artwork, Gabrielle d'Estrées et une de ses sœurs.

Gabrielle d'Estrées et une de ses soeurs (Gabrielle d'Estrées and one of her sisters) is a painting by an unknown artist dated c. 1594. It is in the Louvre in Paris and is usually thought to be the work of a painter from the Fontainebleau School.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: How does Gabrielle d'Estrées et une de ses sœurs explain its abstract?

Gabrielle d'Estrées et une de ses soeurs (Gabrielle d'Estrées and one of her sisters) is a painting by an unknown artist dated c. 1594. It is in the Louvre in Paris and is usually thought to be the work of a painter from the Fontainebleau School.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: In Gabrielle d'Estrées et une de ses sœurs, how is the abstract discussed?

Gabrielle d'Estrées et une de ses soeurs (Gabrielle d'Estrées and one of her sisters) is a painting by an unknown artist dated c. 1594. It is in the Louvre in Paris and is usually thought to be the work of a painter from the Fontainebleau School.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: Focus on Gabrielle d'Estrées et une de ses sœurs and explain the Description.

The painting portrays Gabrielle d'Estrées, mistress of King Henry IV of France, sitting nude in a bath, holding a ring. Her sister Julienne-Hyppolite-Joséphine sits nude beside her and pinches d'Estrées' right nipple.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: Explain the Description of this artwork, Gabrielle d'Estrées et une de ses sœurs.

The painting portrays Gabrielle d'Estrées, mistress of King Henry IV of France, sitting nude in a bath, holding a ring. Her sister Julienne-Hyppolite-Joséphine sits nude beside her and pinches d'Estrées' right nipple.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: How does Gabrielle d'Estrées et une de ses sœurs explain its Description?

The painting portrays Gabrielle d'Estrées, mistress of King Henry IV of France, sitting nude in a bath, holding a ring. Her sister Julienne-Hyppolite-Joséphine sits nude beside her and pinches d'Estrées' right nipple.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: In Gabrielle d'Estrées et une de ses sœurs, how is the Description discussed?

The painting portrays Gabrielle d'Estrées, mistress of King Henry IV of France, sitting nude in a bath, holding a ring. Her sister Julienne-Hyppolite-Joséphine sits nude beside her and pinches d'Estrées' right nipple.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: Focus on Gabrielle d'Estrées et une de ses sœurs and explain the History.

In the early years of the seventeenth century, Pierre de Bourdeille, seigneur de Brantôme told a story about a group of people who went to view the painting. He described the painting as showing "fair naked ladies" together in a bath, and adds that they "touch, and feel, and handle, and stroke, one the other, and intertwine and fondle with each other." Brantôme claims he was told that, while the group was viewing the painting, "a certain great lady... losing all restraint of herself before the picture, [did] say to her lover, turning toward him maddened as it were at the madness of love she beheld painted; 'Too long have we tarried here. Let us now straightway take coach and so to my lodging; for that no more can I hold in the ardour that is in me. Needs must away and quench it; too sore do I burn...'"During the first half of the nineteenth century, Gabrielle d'Estrées et une de ses soeurs hung in the Prefecture of Police in Paris. Dr. Ver Heyden de Lacey stated in an article from 1935 that "Nobody knew why or how it came there; [it was] placed above a door in one of the halls to which the public had access." He explained that one day, a "pusillanimous high official" noticed the painting and "conceived [of] the idea to screen the picture...from the curious public gaze, by drawing a green curtain in front of it." His action suggested that the official considered the painting to be erotic or even obscene, but instead of removing it, he had it veiled, and thus visibly marked the image as an open secret, or as something which should not be seen. At some point after that, Dr. Ver Heyden de Lacey claimed that "Somebody had the happy inspiration to expose [the veiled image] to the artistic and art-trained eyes of those called upon to take part in [a] civic function [at the police station] ... In preparation [for this] special function ... a thorough cleaning of the picture itself was ordered .... [But] Upon drawing the curtain, [they found only] an empty picture frame."

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: Explain the History of this artwork, Gabrielle d'Estrées et une de ses sœurs.

In the early years of the seventeenth century, Pierre de Bourdeille, seigneur de Brantôme told a story about a group of people who went to view the painting. He described the painting as showing "fair naked ladies" together in a bath, and adds that they "touch, and feel, and handle, and stroke, one the other, and intertwine and fondle with each other." Brantôme claims he was told that, while the group was viewing the painting, "a certain great lady... losing all restraint of herself before the picture, [did] say to her lover, turning toward him maddened as it were at the madness of love she beheld painted; 'Too long have we tarried here. Let us now straightway take coach and so to my lodging; for that no more can I hold in the ardour that is in me. Needs must away and quench it; too sore do I burn...'"During the first half of the nineteenth century, Gabrielle d'Estrées et une de ses soeurs hung in the Prefecture of Police in Paris. Dr. Ver Heyden de Lacey stated in an article from 1935 that "Nobody knew why or how it came there; [it was] placed above a door in one of the halls to which the public had access." He explained that one day, a "pusillanimous high official" noticed the painting and "conceived [of] the idea to screen the picture...from the curious public gaze, by drawing a green curtain in front of it." His action suggested that the official considered the painting to be erotic or even obscene, but instead of removing it, he had it veiled, and thus visibly marked the image as an open secret, or as something which should not be seen. At some point after that, Dr. Ver Heyden de Lacey claimed that "Somebody had the happy inspiration to expose [the veiled image] to the artistic and art-trained eyes of those called upon to take part in [a] civic function [at the police station] ... In preparation [for this] special function ... a thorough cleaning of the picture itself was ordered .... [But] Upon drawing the curtain, [they found only] an empty picture frame."

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: How does Gabrielle d'Estrées et une de ses sœurs explain its History?

In the early years of the seventeenth century, Pierre de Bourdeille, seigneur de Brantôme told a story about a group of people who went to view the painting. He described the painting as showing "fair naked ladies" together in a bath, and adds that they "touch, and feel, and handle, and stroke, one the other, and intertwine and fondle with each other." Brantôme claims he was told that, while the group was viewing the painting, "a certain great lady... losing all restraint of herself before the picture, [did] say to her lover, turning toward him maddened as it were at the madness of love she beheld painted; 'Too long have we tarried here. Let us now straightway take coach and so to my lodging; for that no more can I hold in the ardour that is in me. Needs must away and quench it; too sore do I burn...'"During the first half of the nineteenth century, Gabrielle d'Estrées et une de ses soeurs hung in the Prefecture of Police in Paris. Dr. Ver Heyden de Lacey stated in an article from 1935 that "Nobody knew why or how it came there; [it was] placed above a door in one of the halls to which the public had access." He explained that one day, a "pusillanimous high official" noticed the painting and "conceived [of] the idea to screen the picture...from the curious public gaze, by drawing a green curtain in front of it." His action suggested that the official considered the painting to be erotic or even obscene, but instead of removing it, he had it veiled, and thus visibly marked the image as an open secret, or as something which should not be seen. At some point after that, Dr. Ver Heyden de Lacey claimed that "Somebody had the happy inspiration to expose [the veiled image] to the artistic and art-trained eyes of those called upon to take part in [a] civic function [at the police station] ... In preparation [for this] special function ... a thorough cleaning of the picture itself was ordered .... [But] Upon drawing the curtain, [they found only] an empty picture frame."

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: In Gabrielle d'Estrées et une de ses sœurs, how is the History discussed?

In the early years of the seventeenth century, Pierre de Bourdeille, seigneur de Brantôme told a story about a group of people who went to view the painting. He described the painting as showing "fair naked ladies" together in a bath, and adds that they "touch, and feel, and handle, and stroke, one the other, and intertwine and fondle with each other." Brantôme claims he was told that, while the group was viewing the painting, "a certain great lady... losing all restraint of herself before the picture, [did] say to her lover, turning toward him maddened as it were at the madness of love she beheld painted; 'Too long have we tarried here. Let us now straightway take coach and so to my lodging; for that no more can I hold in the ardour that is in me. Needs must away and quench it; too sore do I burn...'"During the first half of the nineteenth century, Gabrielle d'Estrées et une de ses soeurs hung in the Prefecture of Police in Paris. Dr. Ver Heyden de Lacey stated in an article from 1935 that "Nobody knew why or how it came there; [it was] placed above a door in one of the halls to which the public had access." He explained that one day, a "pusillanimous high official" noticed the painting and "conceived [of] the idea to screen the picture...from the curious public gaze, by drawing a green curtain in front of it." His action suggested that the official considered the painting to be erotic or even obscene, but instead of removing it, he had it veiled, and thus visibly marked the image as an open secret, or as something which should not be seen. At some point after that, Dr. Ver Heyden de Lacey claimed that "Somebody had the happy inspiration to expose [the veiled image] to the artistic and art-trained eyes of those called upon to take part in [a] civic function [at the police station] ... In preparation [for this] special function ... a thorough cleaning of the picture itself was ordered .... [But] Upon drawing the curtain, [they found only] an empty picture frame."

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: In the context of Gabrielle d'Estrées et une de ses sœurs, explain the Traditional: announcing Gabrielle's pregnancy and the Interpretations.

The nipple-pinching gesture has been interpreted as a symbolic announcement that Gabrielle is pregnant with Henry's child, César de Bourbon. According to the Louvre's website: "The oddly affectionate way in which the sister is pinching Gabrielle d'Estrées' right breast has often been taken as symbolizing the latter's pregnancy with the illegitimate child of Henry IV. This interpretation would seem to be confirmed by the scene of the young woman sewing – perhaps preparing a layette for the coming child – in the background." The ring that Gabrielle holds is said to be Henry's coronation ring, which he may have given to her as a token of his love shortly before she died.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: Explain the Traditional: announcing Gabrielle's pregnancy about the Interpretations of this artwork, Gabrielle d'Estrées et une de ses sœurs.

The nipple-pinching gesture has been interpreted as a symbolic announcement that Gabrielle is pregnant with Henry's child, César de Bourbon. According to the Louvre's website: "The oddly affectionate way in which the sister is pinching Gabrielle d'Estrées' right breast has often been taken as symbolizing the latter's pregnancy with the illegitimate child of Henry IV. This interpretation would seem to be confirmed by the scene of the young woman sewing – perhaps preparing a layette for the coming child – in the background." The ring that Gabrielle holds is said to be Henry's coronation ring, which he may have given to her as a token of his love shortly before she died.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: In Gabrielle d'Estrées et une de ses sœurs, how is the Traditional: announcing Gabrielle's pregnancy of the Interpretations explained?

The nipple-pinching gesture has been interpreted as a symbolic announcement that Gabrielle is pregnant with Henry's child, César de Bourbon. According to the Louvre's website: "The oddly affectionate way in which the sister is pinching Gabrielle d'Estrées' right breast has often been taken as symbolizing the latter's pregnancy with the illegitimate child of Henry IV. This interpretation would seem to be confirmed by the scene of the young woman sewing – perhaps preparing a layette for the coming child – in the background." The ring that Gabrielle holds is said to be Henry's coronation ring, which he may have given to her as a token of his love shortly before she died.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: Describe the characteristics of the Traditional: announcing Gabrielle's pregnancy in Gabrielle d'Estrées et une de ses sœurs's Interpretations.

The nipple-pinching gesture has been interpreted as a symbolic announcement that Gabrielle is pregnant with Henry's child, César de Bourbon. According to the Louvre's website: "The oddly affectionate way in which the sister is pinching Gabrielle d'Estrées' right breast has often been taken as symbolizing the latter's pregnancy with the illegitimate child of Henry IV. This interpretation would seem to be confirmed by the scene of the young woman sewing – perhaps preparing a layette for the coming child – in the background." The ring that Gabrielle holds is said to be Henry's coronation ring, which he may have given to her as a token of his love shortly before she died.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: In the context of Gabrielle d'Estrées et une de ses sœurs, explain the Modern interpretation and the Interpretations.

In the twentieth and twenty-first centuries, the Gabrielle d'Estrées painting is often understood to represent female homosexuality, despite the fact that the women depicted are in fact sisters. It is listed in Lesbian Histories and Cultures: An Encyclopedia by Bonnie Zimmerman, and also appears on websites about lesbian history such as Sappho.com. Even outside of the LGBT community, the painting is frequently understood as a representation of lesbianism. In 1991, it appeared on the cover of the French magazine L’Événement du jeudi to illustrate a story on lesbian chic. In 2002, the German Green Party created a poster to announce their support of same-sex marriage, featuring two female models reenacting the Gabrielle portrait.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: Explain the Modern interpretation about the Interpretations of this artwork, Gabrielle d'Estrées et une de ses sœurs.

In the twentieth and twenty-first centuries, the Gabrielle d'Estrées painting is often understood to represent female homosexuality, despite the fact that the women depicted are in fact sisters. It is listed in Lesbian Histories and Cultures: An Encyclopedia by Bonnie Zimmerman, and also appears on websites about lesbian history such as Sappho.com. Even outside of the LGBT community, the painting is frequently understood as a representation of lesbianism. In 1991, it appeared on the cover of the French magazine L’Événement du jeudi to illustrate a story on lesbian chic. In 2002, the German Green Party created a poster to announce their support of same-sex marriage, featuring two female models reenacting the Gabrielle portrait.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: In Gabrielle d'Estrées et une de ses sœurs, how is the Modern interpretation of the Interpretations explained?

In the twentieth and twenty-first centuries, the Gabrielle d'Estrées painting is often understood to represent female homosexuality, despite the fact that the women depicted are in fact sisters. It is listed in Lesbian Histories and Cultures: An Encyclopedia by Bonnie Zimmerman, and also appears on websites about lesbian history such as Sappho.com. Even outside of the LGBT community, the painting is frequently understood as a representation of lesbianism. In 1991, it appeared on the cover of the French magazine L’Événement du jeudi to illustrate a story on lesbian chic. In 2002, the German Green Party created a poster to announce their support of same-sex marriage, featuring two female models reenacting the Gabrielle portrait.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Gabrielle d'Estrées et une de ses sœurs

Prompt: Describe the characteristics of the Modern interpretation in Gabrielle d'Estrées et une de ses sœurs's Interpretations.

In the twentieth and twenty-first centuries, the Gabrielle d'Estrées painting is often understood to represent female homosexuality, despite the fact that the women depicted are in fact sisters. It is listed in Lesbian Histories and Cultures: An Encyclopedia by Bonnie Zimmerman, and also appears on websites about lesbian history such as Sappho.com. Even outside of the LGBT community, the painting is frequently understood as a representation of lesbianism. In 1991, it appeared on the cover of the French magazine L’Événement du jeudi to illustrate a story on lesbian chic. In 2002, the German Green Party created a poster to announce their support of same-sex marriage, featuring two female models reenacting the Gabrielle portrait.

Pierre de Bourdeille, seigneur de Brantôme

Julienne-Hippolyte-Joséphine, Duchess of Villars

Category:Paintings in the Louvre by French artists


Ginevra de' Benci

Prompt: Focus on Ginevra de' Benci and explain the abstract.

Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci (born c. 1458). It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: Explain the abstract of this artwork, Ginevra de' Benci.

Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci (born c. 1458). It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: How does Ginevra de' Benci explain its abstract?

Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci (born c. 1458). It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: In Ginevra de' Benci, how is the abstract discussed?

Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci (born c. 1458). It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: Focus on Ginevra de' Benci and explain the Subject.

Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the Latin motto Virtvtem Forma Decorat ("Beauty adorns virtue")—further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto "Virtue and Honor" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: Explain the Subject of this artwork, Ginevra de' Benci.

Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the Latin motto Virtvtem Forma Decorat ("Beauty adorns virtue")—further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto "Virtue and Honor" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: How does Ginevra de' Benci explain its Subject?

Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the Latin motto Virtvtem Forma Decorat ("Beauty adorns virtue")—further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto "Virtue and Honor" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: In Ginevra de' Benci, how is the Subject discussed?

Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the Latin motto Virtvtem Forma Decorat ("Beauty adorns virtue")—further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto "Virtue and Honor" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: Focus on Ginevra de' Benci and explain the Trivia.

As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo Landino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself.According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni.Ginevra's brother Giovanni (1456–1523) was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son.In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty Latin sentences signed VINCI, formed with the very same alphabetical letters of the motto VIRTVTEM FORMA DECORAT when supplemented with the Latin word iuniperus (juniper [sprig]). Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: Explain the Trivia of this artwork, Ginevra de' Benci.

As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo Landino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself.According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni.Ginevra's brother Giovanni (1456–1523) was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son.In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty Latin sentences signed VINCI, formed with the very same alphabetical letters of the motto VIRTVTEM FORMA DECORAT when supplemented with the Latin word iuniperus (juniper [sprig]). Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: How does Ginevra de' Benci explain its Trivia?

As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo Landino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself.According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni.Ginevra's brother Giovanni (1456–1523) was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son.In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty Latin sentences signed VINCI, formed with the very same alphabetical letters of the motto VIRTVTEM FORMA DECORAT when supplemented with the Latin word iuniperus (juniper [sprig]). Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: In Ginevra de' Benci, how is the Trivia discussed?

As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo Landino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself.According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni.Ginevra's brother Giovanni (1456–1523) was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son.In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty Latin sentences signed VINCI, formed with the very same alphabetical letters of the motto VIRTVTEM FORMA DECORAT when supplemented with the Latin word iuniperus (juniper [sprig]). Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Portrait of Père Tanguy

Prompt: Focus on Portrait of Père Tanguy and explain the abstract.

Portrait of Père Tanguy, painted by Vincent van Gogh in 1887, is one of his three paintings of Julien Tanguy. The three works demonstrate a progression in van Gogh's artistic style after his arrival in Paris. The first is somber, and formed from a simple composition. The second introduces van Gogh's Japanese prints. The last and most advanced in style, skill and color integrates Japanese, Impressionist, and other influences on the Parisian artist community. This painting conveys a sense of serenity that van Gogh seeks for himself. This last painting of Tanguy is in the Musée Rodin, Paris.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: Explain the abstract of this artwork, Portrait of Père Tanguy.

Portrait of Père Tanguy, painted by Vincent van Gogh in 1887, is one of his three paintings of Julien Tanguy. The three works demonstrate a progression in van Gogh's artistic style after his arrival in Paris. The first is somber, and formed from a simple composition. The second introduces van Gogh's Japanese prints. The last and most advanced in style, skill and color integrates Japanese, Impressionist, and other influences on the Parisian artist community. This painting conveys a sense of serenity that van Gogh seeks for himself. This last painting of Tanguy is in the Musée Rodin, Paris.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: How does Portrait of Père Tanguy explain its abstract?

Portrait of Père Tanguy, painted by Vincent van Gogh in 1887, is one of his three paintings of Julien Tanguy. The three works demonstrate a progression in van Gogh's artistic style after his arrival in Paris. The first is somber, and formed from a simple composition. The second introduces van Gogh's Japanese prints. The last and most advanced in style, skill and color integrates Japanese, Impressionist, and other influences on the Parisian artist community. This painting conveys a sense of serenity that van Gogh seeks for himself. This last painting of Tanguy is in the Musée Rodin, Paris.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: In Portrait of Père Tanguy, how is the abstract discussed?

Portrait of Père Tanguy, painted by Vincent van Gogh in 1887, is one of his three paintings of Julien Tanguy. The three works demonstrate a progression in van Gogh's artistic style after his arrival in Paris. The first is somber, and formed from a simple composition. The second introduces van Gogh's Japanese prints. The last and most advanced in style, skill and color integrates Japanese, Impressionist, and other influences on the Parisian artist community. This painting conveys a sense of serenity that van Gogh seeks for himself. This last painting of Tanguy is in the Musée Rodin, Paris.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: Focus on Portrait of Père Tanguy and explain the Van Gogh in Paris.

In 1886 van Gogh left the Netherlands never to return. He moved to Paris to live with his brother Theo, a Parisian art dealer. Vincent entered Paris as a shy, somber man. While his personality would never change, he emerged artistically into what one critic described as a "singing bird". Although van Gogh had been influenced by great masters in the Netherlands, coming to Paris meant that he was exposed to Impressionists, Symbolists, Pointillists, and Japanese art (see Japonisme). His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard, Paul Signac, and others. The works of the Japanese ukiyo-e artists Hiroshige and Hokusai greatly influenced van Gogh, both for the subject matter and the style of flat patterns of colors without shadow.  In the two years from 1886 through 1888 he spent working in Paris, van Gogh explored the various genres, creating his own unique style.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: Explain the Van Gogh in Paris of this artwork, Portrait of Père Tanguy.

In 1886 van Gogh left the Netherlands never to return. He moved to Paris to live with his brother Theo, a Parisian art dealer. Vincent entered Paris as a shy, somber man. While his personality would never change, he emerged artistically into what one critic described as a "singing bird". Although van Gogh had been influenced by great masters in the Netherlands, coming to Paris meant that he was exposed to Impressionists, Symbolists, Pointillists, and Japanese art (see Japonisme). His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard, Paul Signac, and others. The works of the Japanese ukiyo-e artists Hiroshige and Hokusai greatly influenced van Gogh, both for the subject matter and the style of flat patterns of colors without shadow.  In the two years from 1886 through 1888 he spent working in Paris, van Gogh explored the various genres, creating his own unique style.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: How does Portrait of Père Tanguy explain its Van Gogh in Paris?

In 1886 van Gogh left the Netherlands never to return. He moved to Paris to live with his brother Theo, a Parisian art dealer. Vincent entered Paris as a shy, somber man. While his personality would never change, he emerged artistically into what one critic described as a "singing bird". Although van Gogh had been influenced by great masters in the Netherlands, coming to Paris meant that he was exposed to Impressionists, Symbolists, Pointillists, and Japanese art (see Japonisme). His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard, Paul Signac, and others. The works of the Japanese ukiyo-e artists Hiroshige and Hokusai greatly influenced van Gogh, both for the subject matter and the style of flat patterns of colors without shadow.  In the two years from 1886 through 1888 he spent working in Paris, van Gogh explored the various genres, creating his own unique style.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: In Portrait of Père Tanguy, how is the Van Gogh in Paris discussed?

In 1886 van Gogh left the Netherlands never to return. He moved to Paris to live with his brother Theo, a Parisian art dealer. Vincent entered Paris as a shy, somber man. While his personality would never change, he emerged artistically into what one critic described as a "singing bird". Although van Gogh had been influenced by great masters in the Netherlands, coming to Paris meant that he was exposed to Impressionists, Symbolists, Pointillists, and Japanese art (see Japonisme). His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard, Paul Signac, and others. The works of the Japanese ukiyo-e artists Hiroshige and Hokusai greatly influenced van Gogh, both for the subject matter and the style of flat patterns of colors without shadow.  In the two years from 1886 through 1888 he spent working in Paris, van Gogh explored the various genres, creating his own unique style.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: Focus on Portrait of Père Tanguy and explain the The painting.

The brightly colored painting and confident subject represent a shift in Vincent's attitude. Van Gogh called his use of bright colors "gymnastics" that through experimentation created great depth, harmony and balance in his work.  The painting contains a background of van Gogh's Japanese prints that were sold at Tanguy's shop. On top of Tanguy's hat is Mount Fuji; Kabuki actors share the wall with cherry trees in bloom.The Japanese paintings represent van Gogh's search for serenity, which he describes in a letter to his sister during this period, "Having as much of this serenity as possible, even though one knows little – nothing – for certain, is perhaps a better remedy for all diseases than all the things that are sold at the chemist's shop." In an effort to capture serenity in his painting, Van Gogh paints Tanguy with a calm, contemplative nature. Historian of Symbolism Naomi Maurer describes him as having the "iconic tranquility of Buddha."Van Gogh died in 1890 and Tanguy four years after. Following Tanguy's death, his daughter sold the Portrait of Père Tanguy to sculptor Auguste Rodin. The Portrait of Père Tanguy, previously in Rodin's personal collection, is in the permanent collection at Musée Rodin in Paris.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: Explain the The painting of this artwork, Portrait of Père Tanguy.

The brightly colored painting and confident subject represent a shift in Vincent's attitude. Van Gogh called his use of bright colors "gymnastics" that through experimentation created great depth, harmony and balance in his work.  The painting contains a background of van Gogh's Japanese prints that were sold at Tanguy's shop. On top of Tanguy's hat is Mount Fuji; Kabuki actors share the wall with cherry trees in bloom.The Japanese paintings represent van Gogh's search for serenity, which he describes in a letter to his sister during this period, "Having as much of this serenity as possible, even though one knows little – nothing – for certain, is perhaps a better remedy for all diseases than all the things that are sold at the chemist's shop." In an effort to capture serenity in his painting, Van Gogh paints Tanguy with a calm, contemplative nature. Historian of Symbolism Naomi Maurer describes him as having the "iconic tranquility of Buddha."Van Gogh died in 1890 and Tanguy four years after. Following Tanguy's death, his daughter sold the Portrait of Père Tanguy to sculptor Auguste Rodin. The Portrait of Père Tanguy, previously in Rodin's personal collection, is in the permanent collection at Musée Rodin in Paris.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: How does Portrait of Père Tanguy explain its The painting?

The brightly colored painting and confident subject represent a shift in Vincent's attitude. Van Gogh called his use of bright colors "gymnastics" that through experimentation created great depth, harmony and balance in his work.  The painting contains a background of van Gogh's Japanese prints that were sold at Tanguy's shop. On top of Tanguy's hat is Mount Fuji; Kabuki actors share the wall with cherry trees in bloom.The Japanese paintings represent van Gogh's search for serenity, which he describes in a letter to his sister during this period, "Having as much of this serenity as possible, even though one knows little – nothing – for certain, is perhaps a better remedy for all diseases than all the things that are sold at the chemist's shop." In an effort to capture serenity in his painting, Van Gogh paints Tanguy with a calm, contemplative nature. Historian of Symbolism Naomi Maurer describes him as having the "iconic tranquility of Buddha."Van Gogh died in 1890 and Tanguy four years after. Following Tanguy's death, his daughter sold the Portrait of Père Tanguy to sculptor Auguste Rodin. The Portrait of Père Tanguy, previously in Rodin's personal collection, is in the permanent collection at Musée Rodin in Paris.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: In Portrait of Père Tanguy, how is the The painting discussed?

The brightly colored painting and confident subject represent a shift in Vincent's attitude. Van Gogh called his use of bright colors "gymnastics" that through experimentation created great depth, harmony and balance in his work.  The painting contains a background of van Gogh's Japanese prints that were sold at Tanguy's shop. On top of Tanguy's hat is Mount Fuji; Kabuki actors share the wall with cherry trees in bloom.The Japanese paintings represent van Gogh's search for serenity, which he describes in a letter to his sister during this period, "Having as much of this serenity as possible, even though one knows little – nothing – for certain, is perhaps a better remedy for all diseases than all the things that are sold at the chemist's shop." In an effort to capture serenity in his painting, Van Gogh paints Tanguy with a calm, contemplative nature. Historian of Symbolism Naomi Maurer describes him as having the "iconic tranquility of Buddha."Van Gogh died in 1890 and Tanguy four years after. Following Tanguy's death, his daughter sold the Portrait of Père Tanguy to sculptor Auguste Rodin. The Portrait of Père Tanguy, previously in Rodin's personal collection, is in the permanent collection at Musée Rodin in Paris.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: Focus on Portrait of Père Tanguy and explain the Julien Tanguy.

Julien François Tanguy (1825 Plédran - 1894 Paris) was a paint grinder who sold art supplies and was also an art dealer, one of the first to offer van Gogh's paintings for sale. His jovial demeanor and enthusiasm for artistry and artists made his shop one of the most favored art supply shops in Paris, and he was nicknamed Père ("Father") Tanguy. Maurer calls Tanguy a father figure who shared his food and money with artists and showed their paintings with pride.Tanguy took paintings as payment for paints, which Émile Bernard said made entering his shop in Montmartre, full of Impressionist paintings, like "visiting a museum". In comparison to her husband, Tanguy's wife was less cooperative and more concerned with clientele paying outstanding charges. When Tanguy died, his friends staged an auction for his widow.Octave Mirbeau wrote a notice about him in L'Écho de Paris on 13 February 1894.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: Explain the Julien Tanguy of this artwork, Portrait of Père Tanguy.

Julien François Tanguy (1825 Plédran - 1894 Paris) was a paint grinder who sold art supplies and was also an art dealer, one of the first to offer van Gogh's paintings for sale. His jovial demeanor and enthusiasm for artistry and artists made his shop one of the most favored art supply shops in Paris, and he was nicknamed Père ("Father") Tanguy. Maurer calls Tanguy a father figure who shared his food and money with artists and showed their paintings with pride.Tanguy took paintings as payment for paints, which Émile Bernard said made entering his shop in Montmartre, full of Impressionist paintings, like "visiting a museum". In comparison to her husband, Tanguy's wife was less cooperative and more concerned with clientele paying outstanding charges. When Tanguy died, his friends staged an auction for his widow.Octave Mirbeau wrote a notice about him in L'Écho de Paris on 13 February 1894.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: How does Portrait of Père Tanguy explain its Julien Tanguy?

Julien François Tanguy (1825 Plédran - 1894 Paris) was a paint grinder who sold art supplies and was also an art dealer, one of the first to offer van Gogh's paintings for sale. His jovial demeanor and enthusiasm for artistry and artists made his shop one of the most favored art supply shops in Paris, and he was nicknamed Père ("Father") Tanguy. Maurer calls Tanguy a father figure who shared his food and money with artists and showed their paintings with pride.Tanguy took paintings as payment for paints, which Émile Bernard said made entering his shop in Montmartre, full of Impressionist paintings, like "visiting a museum". In comparison to her husband, Tanguy's wife was less cooperative and more concerned with clientele paying outstanding charges. When Tanguy died, his friends staged an auction for his widow.Octave Mirbeau wrote a notice about him in L'Écho de Paris on 13 February 1894.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: In Portrait of Père Tanguy, how is the Julien Tanguy discussed?

Julien François Tanguy (1825 Plédran - 1894 Paris) was a paint grinder who sold art supplies and was also an art dealer, one of the first to offer van Gogh's paintings for sale. His jovial demeanor and enthusiasm for artistry and artists made his shop one of the most favored art supply shops in Paris, and he was nicknamed Père ("Father") Tanguy. Maurer calls Tanguy a father figure who shared his food and money with artists and showed their paintings with pride.Tanguy took paintings as payment for paints, which Émile Bernard said made entering his shop in Montmartre, full of Impressionist paintings, like "visiting a museum". In comparison to her husband, Tanguy's wife was less cooperative and more concerned with clientele paying outstanding charges. When Tanguy died, his friends staged an auction for his widow.Octave Mirbeau wrote a notice about him in L'Écho de Paris on 13 February 1894.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: Focus on Portrait of Père Tanguy and explain the Three Portraits of Julien Tanguy.

Van Gogh painted three portraits of Julien (Père) Tanguy.In winter 1886/87 van Gogh painted his first portrait of Tanguy. It is mostly brown, with a touch of red on his lips and a green on his apron. Writer Victoria Finlay describes him as looking more like a workman than an art dealer.In 1887, van Gogh began to experiment with brighter colors, such as red against green and orange against blue.  The other two paintings show him sitting in front of a colorful wall of Japanese prints. The second to the right was painted by van Gogh in one thirty-minute sitting, and Tanguy kept the original version of the painting. Actor Edward G. Robinson and his wife Gladys Lloyd Robinson, a painter, owned the painting,  which they sold to Greek shipping tycoon Stavros Niarchos.The second, more advanced painting with Japanese prints is held in the Musée Rodin in Paris.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: Explain the Three Portraits of Julien Tanguy of this artwork, Portrait of Père Tanguy.

Van Gogh painted three portraits of Julien (Père) Tanguy.In winter 1886/87 van Gogh painted his first portrait of Tanguy. It is mostly brown, with a touch of red on his lips and a green on his apron. Writer Victoria Finlay describes him as looking more like a workman than an art dealer.In 1887, van Gogh began to experiment with brighter colors, such as red against green and orange against blue.  The other two paintings show him sitting in front of a colorful wall of Japanese prints. The second to the right was painted by van Gogh in one thirty-minute sitting, and Tanguy kept the original version of the painting. Actor Edward G. Robinson and his wife Gladys Lloyd Robinson, a painter, owned the painting,  which they sold to Greek shipping tycoon Stavros Niarchos.The second, more advanced painting with Japanese prints is held in the Musée Rodin in Paris.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: How does Portrait of Père Tanguy explain its Three Portraits of Julien Tanguy?

Van Gogh painted three portraits of Julien (Père) Tanguy.In winter 1886/87 van Gogh painted his first portrait of Tanguy. It is mostly brown, with a touch of red on his lips and a green on his apron. Writer Victoria Finlay describes him as looking more like a workman than an art dealer.In 1887, van Gogh began to experiment with brighter colors, such as red against green and orange against blue.  The other two paintings show him sitting in front of a colorful wall of Japanese prints. The second to the right was painted by van Gogh in one thirty-minute sitting, and Tanguy kept the original version of the painting. Actor Edward G. Robinson and his wife Gladys Lloyd Robinson, a painter, owned the painting,  which they sold to Greek shipping tycoon Stavros Niarchos.The second, more advanced painting with Japanese prints is held in the Musée Rodin in Paris.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


Portrait of Père Tanguy

Prompt: In Portrait of Père Tanguy, how is the Three Portraits of Julien Tanguy discussed?

Van Gogh painted three portraits of Julien (Père) Tanguy.In winter 1886/87 van Gogh painted his first portrait of Tanguy. It is mostly brown, with a touch of red on his lips and a green on his apron. Writer Victoria Finlay describes him as looking more like a workman than an art dealer.In 1887, van Gogh began to experiment with brighter colors, such as red against green and orange against blue.  The other two paintings show him sitting in front of a colorful wall of Japanese prints. The second to the right was painted by van Gogh in one thirty-minute sitting, and Tanguy kept the original version of the painting. Actor Edward G. Robinson and his wife Gladys Lloyd Robinson, a painter, owned the painting,  which they sold to Greek shipping tycoon Stavros Niarchos.The second, more advanced painting with Japanese prints is held in the Musée Rodin in Paris.

''Portrait of Père Tanguy'', The second painting of Père Tanguy by Vincent van Gogh (65 cm x 51 cm) (F364)

File:Van Gogh - Bildnis Père Tanguy1.jpeg

''Portrait of Père Tanguy'', winter 1886/87. (47x38.5cm) (F263)

Category:Paintings of Paris by Vincent van Gogh

File:Van Gogh - Bildnis Père Tanguy.jpeg


One Hundred Famous Views of Edo

Prompt: Focus on One Hundred Famous Views of Edo and explain the abstract.

One Hundred Famous Views of Edo (in Japanese: 名所江戸百景, romanized: Meisho Edo Hyakkei) is a series of 119 ukiyo-e prints begun and largely completed by the Japanese artist Hiroshige (1797–1858). The prints were first published in serialized form in 1856–59, with Hiroshige II completing the series after Hiroshige's death. It was tremendously popular and much reprinted.

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

The Sixty-nine Stations of the Kisokaidō

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


One Hundred Famous Views of Edo

Prompt: Explain the abstract of this artwork, One Hundred Famous Views of Edo.

One Hundred Famous Views of Edo (in Japanese: 名所江戸百景, romanized: Meisho Edo Hyakkei) is a series of 119 ukiyo-e prints begun and largely completed by the Japanese artist Hiroshige (1797–1858). The prints were first published in serialized form in 1856–59, with Hiroshige II completing the series after Hiroshige's death. It was tremendously popular and much reprinted.

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

The Sixty-nine Stations of the Kisokaidō

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


One Hundred Famous Views of Edo

Prompt: How does One Hundred Famous Views of Edo explain its abstract?

One Hundred Famous Views of Edo (in Japanese: 名所江戸百景, romanized: Meisho Edo Hyakkei) is a series of 119 ukiyo-e prints begun and largely completed by the Japanese artist Hiroshige (1797–1858). The prints were first published in serialized form in 1856–59, with Hiroshige II completing the series after Hiroshige's death. It was tremendously popular and much reprinted.

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

The Sixty-nine Stations of the Kisokaidō

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


One Hundred Famous Views of Edo

Prompt: In One Hundred Famous Views of Edo, how is the abstract discussed?

One Hundred Famous Views of Edo (in Japanese: 名所江戸百景, romanized: Meisho Edo Hyakkei) is a series of 119 ukiyo-e prints begun and largely completed by the Japanese artist Hiroshige (1797–1858). The prints were first published in serialized form in 1856–59, with Hiroshige II completing the series after Hiroshige's death. It was tremendously popular and much reprinted.

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

The Sixty-nine Stations of the Kisokaidō

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


One Hundred Famous Views of Edo

Prompt: Focus on One Hundred Famous Views of Edo and explain the History.

Hiroshige produced designs in the style of the Utagawa school, a 19th-century popular style in woodblock prints, much favoured during his lifetime. Increasingly large series of prints were produced. This trend can be seen in Hiroshige’s work, such as The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kisokaidō.Many publishing houses arose and grew, publishing both books and individual prints. A publisher's ownership of the physical woodblocks used to print a given text or image constituted the closest equivalent to a concept of "copyright" that existed at this time.Woodblock prints such as these were produced in large numbers in 18th- and 19th-century Japan, created by artists, block cutters and printers working independently to the instructions of specialist publishers. Prints such as these were called ukiyo-e, which means 'pictures of the floating world'. This world was one of transient delights and changing fashions centred on the licensed pleasure districts and popular theatres found in the major cities of Japan.In the years 1829–36, a seven volume illustrated guidebook Pictures of famous places of  Edo (江戸名所図会, Edo meishō zue) was published. It was begun by Saitō Yukio (1737–1799) in 1790 and illustrated very accurately by Hasegawa Settan (1778–1848). The pictures and text describe the important temples and shrines, but also the famous stores, restaurants, tea-houses etc. of Edo as well as the Sumida river and its channels and surrounding landscape.Hiroshige, in several cases, makes use of this guide for his series of colour prints (see below and within the list). His series covered the place too which the guide didn’t describe, and he drew casual views of Edo.   His series is a work that inspired a number of Western artists, including Vincent van Gogh, to experiment with imitations of Japanese methods. Elements of Hiroshige's work can be found in Western cinema and comics produced during the 20th-century, particularly The Adventures of Tintin, and they "profoundly influenced" the development of modernism.The series uses a vertical format which Hiroshige pioneered in his preceding series, Famous Views of the Sixty-odd Provinces, and was a departure from the horizontal format used in his previous major print series.

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake