Prompt: Focus on Venus and the Three Graces Presenting Gifts to a Young Woman and explain the abstract.

Venus and the Three Graces Presenting Gifts to a Young Woman, also known as Giovanna degli Albizzi Receiving a Gift of Flowers from Venus (Italian: Venere e le tre Grazie offrono doni a una giovane), is a fresco painting by the Italian Renaissance painter Sandro Botticelli of circa 1483–1486. The painting and its companion piece, A Young Man Being Introduced to the Seven Liberal Arts, originally decorated the walls of Villa Lemmi, a country villa near Florence owned by Giovanni Tornabuoni, uncle of Lorenzo de' Medici and head of the Roman branch of the Medici Bank. They were probably commissioned for the wedding in 1486 of Giovanni's son Lorenzo to Giovanna of the Albizzi family, and are therefore thought to depict the two.Venus and the Three Graces Presenting Gifts to a Young Woman shows a young woman, probably Giovanna Tornabuoni, being received by Venus and the three Graces. Giovanna holds open a white cloth, into which Venus is laying roses symbolizing beauty and love.Both paintings were discovered at Villa Lemmi in 1873 under a coat of whitewash and removed from the wall and transferred to a canvas support.  They are now in the Musée du Louvre, Paris.

A Young Man Being Introduced to the Seven Liberal Arts (Botticelli)

Category:Paintings in the Louvre by Italian artists

''A Young Man Being Introduced to the Seven Liberal Arts''


Prompt: Explain the abstract of this artwork, Venus and the Three Graces Presenting Gifts to a Young Woman.

Venus and the Three Graces Presenting Gifts to a Young Woman, also known as Giovanna degli Albizzi Receiving a Gift of Flowers from Venus (Italian: Venere e le tre Grazie offrono doni a una giovane), is a fresco painting by the Italian Renaissance painter Sandro Botticelli of circa 1483–1486. The painting and its companion piece, A Young Man Being Introduced to the Seven Liberal Arts, originally decorated the walls of Villa Lemmi, a country villa near Florence owned by Giovanni Tornabuoni, uncle of Lorenzo de' Medici and head of the Roman branch of the Medici Bank. They were probably commissioned for the wedding in 1486 of Giovanni's son Lorenzo to Giovanna of the Albizzi family, and are therefore thought to depict the two.Venus and the Three Graces Presenting Gifts to a Young Woman shows a young woman, probably Giovanna Tornabuoni, being received by Venus and the three Graces. Giovanna holds open a white cloth, into which Venus is laying roses symbolizing beauty and love.Both paintings were discovered at Villa Lemmi in 1873 under a coat of whitewash and removed from the wall and transferred to a canvas support.  They are now in the Musée du Louvre, Paris.

A Young Man Being Introduced to the Seven Liberal Arts (Botticelli)

Category:Paintings in the Louvre by Italian artists

''A Young Man Being Introduced to the Seven Liberal Arts''


Prompt: How does Venus and the Three Graces Presenting Gifts to a Young Woman explain its abstract?

Venus and the Three Graces Presenting Gifts to a Young Woman, also known as Giovanna degli Albizzi Receiving a Gift of Flowers from Venus (Italian: Venere e le tre Grazie offrono doni a una giovane), is a fresco painting by the Italian Renaissance painter Sandro Botticelli of circa 1483–1486. The painting and its companion piece, A Young Man Being Introduced to the Seven Liberal Arts, originally decorated the walls of Villa Lemmi, a country villa near Florence owned by Giovanni Tornabuoni, uncle of Lorenzo de' Medici and head of the Roman branch of the Medici Bank. They were probably commissioned for the wedding in 1486 of Giovanni's son Lorenzo to Giovanna of the Albizzi family, and are therefore thought to depict the two.Venus and the Three Graces Presenting Gifts to a Young Woman shows a young woman, probably Giovanna Tornabuoni, being received by Venus and the three Graces. Giovanna holds open a white cloth, into which Venus is laying roses symbolizing beauty and love.Both paintings were discovered at Villa Lemmi in 1873 under a coat of whitewash and removed from the wall and transferred to a canvas support.  They are now in the Musée du Louvre, Paris.

A Young Man Being Introduced to the Seven Liberal Arts (Botticelli)

Category:Paintings in the Louvre by Italian artists

''A Young Man Being Introduced to the Seven Liberal Arts''


Prompt: In Venus and the Three Graces Presenting Gifts to a Young Woman, how is the abstract discussed?

Venus and the Three Graces Presenting Gifts to a Young Woman, also known as Giovanna degli Albizzi Receiving a Gift of Flowers from Venus (Italian: Venere e le tre Grazie offrono doni a una giovane), is a fresco painting by the Italian Renaissance painter Sandro Botticelli of circa 1483–1486. The painting and its companion piece, A Young Man Being Introduced to the Seven Liberal Arts, originally decorated the walls of Villa Lemmi, a country villa near Florence owned by Giovanni Tornabuoni, uncle of Lorenzo de' Medici and head of the Roman branch of the Medici Bank. They were probably commissioned for the wedding in 1486 of Giovanni's son Lorenzo to Giovanna of the Albizzi family, and are therefore thought to depict the two.Venus and the Three Graces Presenting Gifts to a Young Woman shows a young woman, probably Giovanna Tornabuoni, being received by Venus and the three Graces. Giovanna holds open a white cloth, into which Venus is laying roses symbolizing beauty and love.Both paintings were discovered at Villa Lemmi in 1873 under a coat of whitewash and removed from the wall and transferred to a canvas support.  They are now in the Musée du Louvre, Paris.

A Young Man Being Introduced to the Seven Liberal Arts (Botticelli)

Category:Paintings in the Louvre by Italian artists

''A Young Man Being Introduced to the Seven Liberal Arts''


Martyrdom of the Ten Thousand

Prompt: Focus on Martyrdom of the Ten Thousand and explain the abstract.

The Martyrdom of the Ten Thousand is an oil painting by Albrecht Dürer, dating to 1508 and now at the Kunsthistorisches Museum of Vienna, Austria. It is signed on a cartouche which hangs from the artist's self-portrait in the center, saying Iste faciebat Ano Domini 1508 Albertus Dürer Aleman.

File:Martirio dei diecimila, incisione.jpg

File:Durer, Martyrdom of the Ten Thousand 04.jpg

Category:Paintings in the Kunsthistorisches Museum


Martyrdom of the Ten Thousand

Prompt: Explain the abstract of this artwork, Martyrdom of the Ten Thousand.

The Martyrdom of the Ten Thousand is an oil painting by Albrecht Dürer, dating to 1508 and now at the Kunsthistorisches Museum of Vienna, Austria. It is signed on a cartouche which hangs from the artist's self-portrait in the center, saying Iste faciebat Ano Domini 1508 Albertus Dürer Aleman.

File:Martirio dei diecimila, incisione.jpg

File:Durer, Martyrdom of the Ten Thousand 04.jpg

Category:Paintings in the Kunsthistorisches Museum


Martyrdom of the Ten Thousand

Prompt: How does Martyrdom of the Ten Thousand explain its abstract?

The Martyrdom of the Ten Thousand is an oil painting by Albrecht Dürer, dating to 1508 and now at the Kunsthistorisches Museum of Vienna, Austria. It is signed on a cartouche which hangs from the artist's self-portrait in the center, saying Iste faciebat Ano Domini 1508 Albertus Dürer Aleman.

File:Martirio dei diecimila, incisione.jpg

File:Durer, Martyrdom of the Ten Thousand 04.jpg

Category:Paintings in the Kunsthistorisches Museum


Martyrdom of the Ten Thousand

Prompt: In Martyrdom of the Ten Thousand, how is the abstract discussed?

The Martyrdom of the Ten Thousand is an oil painting by Albrecht Dürer, dating to 1508 and now at the Kunsthistorisches Museum of Vienna, Austria. It is signed on a cartouche which hangs from the artist's self-portrait in the center, saying Iste faciebat Ano Domini 1508 Albertus Dürer Aleman.

File:Martirio dei diecimila, incisione.jpg

File:Durer, Martyrdom of the Ten Thousand 04.jpg

Category:Paintings in the Kunsthistorisches Museum


Martyrdom of the Ten Thousand

Prompt: Focus on Martyrdom of the Ten Thousand and explain the History.

The painting was commissioned by Frederick III, Elector of Saxony for the All Saints' Church, Wittenberg. Frederick had been Dürer's patron since 1496. He himself chose the subject, as his collection of relics included some of the Ten thousand martyrs.Dürer had used the same subject for a woodcut of some ten years before, but in the new work he eliminated some macabre details such as the torture of the bishop Acacius,  having his eyes stripped through a drill. This scene was replaced by a crucifixion on the right and by the presence of the bishop in chains behind it.The work was repeatedly mentioned in the correspondence between the artist and  Jakob Heller of Frankfurt.  Dürer received  280 florins for it.

File:Martirio dei diecimila, incisione.jpg

File:Durer, Martyrdom of the Ten Thousand 04.jpg

Category:Paintings in the Kunsthistorisches Museum


Martyrdom of the Ten Thousand

Prompt: Explain the History of this artwork, Martyrdom of the Ten Thousand.

The painting was commissioned by Frederick III, Elector of Saxony for the All Saints' Church, Wittenberg. Frederick had been Dürer's patron since 1496. He himself chose the subject, as his collection of relics included some of the Ten thousand martyrs.Dürer had used the same subject for a woodcut of some ten years before, but in the new work he eliminated some macabre details such as the torture of the bishop Acacius,  having his eyes stripped through a drill. This scene was replaced by a crucifixion on the right and by the presence of the bishop in chains behind it.The work was repeatedly mentioned in the correspondence between the artist and  Jakob Heller of Frankfurt.  Dürer received  280 florins for it.

File:Martirio dei diecimila, incisione.jpg

File:Durer, Martyrdom of the Ten Thousand 04.jpg

Category:Paintings in the Kunsthistorisches Museum


Martyrdom of the Ten Thousand

Prompt: How does Martyrdom of the Ten Thousand explain its History?

The painting was commissioned by Frederick III, Elector of Saxony for the All Saints' Church, Wittenberg. Frederick had been Dürer's patron since 1496. He himself chose the subject, as his collection of relics included some of the Ten thousand martyrs.Dürer had used the same subject for a woodcut of some ten years before, but in the new work he eliminated some macabre details such as the torture of the bishop Acacius,  having his eyes stripped through a drill. This scene was replaced by a crucifixion on the right and by the presence of the bishop in chains behind it.The work was repeatedly mentioned in the correspondence between the artist and  Jakob Heller of Frankfurt.  Dürer received  280 florins for it.

File:Martirio dei diecimila, incisione.jpg

File:Durer, Martyrdom of the Ten Thousand 04.jpg

Category:Paintings in the Kunsthistorisches Museum


Martyrdom of the Ten Thousand

Prompt: In Martyrdom of the Ten Thousand, how is the History discussed?

The painting was commissioned by Frederick III, Elector of Saxony for the All Saints' Church, Wittenberg. Frederick had been Dürer's patron since 1496. He himself chose the subject, as his collection of relics included some of the Ten thousand martyrs.Dürer had used the same subject for a woodcut of some ten years before, but in the new work he eliminated some macabre details such as the torture of the bishop Acacius,  having his eyes stripped through a drill. This scene was replaced by a crucifixion on the right and by the presence of the bishop in chains behind it.The work was repeatedly mentioned in the correspondence between the artist and  Jakob Heller of Frankfurt.  Dürer received  280 florins for it.

File:Martirio dei diecimila, incisione.jpg

File:Durer, Martyrdom of the Ten Thousand 04.jpg

Category:Paintings in the Kunsthistorisches Museum


Martyrdom of the Ten Thousand

Prompt: Focus on Martyrdom of the Ten Thousand and explain the Description.

The painting illustrates the legendary martyrdom of ten thousand Christian soldiers perpetrated on Mount Ararat by the King of Persia, Shapur I, by the order of the Roman emperor Hadrian or Antoninus Pius, or, according to other sources, Diocletian.Dürer painted numerous different martyrdom scenes within a forest with clearings and cliffs. In the foreground are crucifixions, decapitations, crushing with a hammer. The Persian King is portrayed as an Ottoman sultan, riding a horse on the right. The executioners also wear gaudy Ottoman dress. In the background are prisoners walking through to a cliff from where they are thrown down against rocks and thorny bushes, as well as scenes of fighting, stoning and hitting with huge clubs.At the center of the crowded scene, dressed in black, are two characters who walk placidly, apparently unaware of the horrors around them: one is Dürer's self-portrait (holding his signature), the other his friend and humanist Conrad Celtes, who had died a few months before the execution of the painting.

File:Martirio dei diecimila, incisione.jpg

File:Durer, Martyrdom of the Ten Thousand 04.jpg

Category:Paintings in the Kunsthistorisches Museum


Martyrdom of the Ten Thousand

Prompt: Explain the Description of this artwork, Martyrdom of the Ten Thousand.

The painting illustrates the legendary martyrdom of ten thousand Christian soldiers perpetrated on Mount Ararat by the King of Persia, Shapur I, by the order of the Roman emperor Hadrian or Antoninus Pius, or, according to other sources, Diocletian.Dürer painted numerous different martyrdom scenes within a forest with clearings and cliffs. In the foreground are crucifixions, decapitations, crushing with a hammer. The Persian King is portrayed as an Ottoman sultan, riding a horse on the right. The executioners also wear gaudy Ottoman dress. In the background are prisoners walking through to a cliff from where they are thrown down against rocks and thorny bushes, as well as scenes of fighting, stoning and hitting with huge clubs.At the center of the crowded scene, dressed in black, are two characters who walk placidly, apparently unaware of the horrors around them: one is Dürer's self-portrait (holding his signature), the other his friend and humanist Conrad Celtes, who had died a few months before the execution of the painting.

File:Martirio dei diecimila, incisione.jpg

File:Durer, Martyrdom of the Ten Thousand 04.jpg

Category:Paintings in the Kunsthistorisches Museum


Martyrdom of the Ten Thousand

Prompt: How does Martyrdom of the Ten Thousand explain its Description?

The painting illustrates the legendary martyrdom of ten thousand Christian soldiers perpetrated on Mount Ararat by the King of Persia, Shapur I, by the order of the Roman emperor Hadrian or Antoninus Pius, or, according to other sources, Diocletian.Dürer painted numerous different martyrdom scenes within a forest with clearings and cliffs. In the foreground are crucifixions, decapitations, crushing with a hammer. The Persian King is portrayed as an Ottoman sultan, riding a horse on the right. The executioners also wear gaudy Ottoman dress. In the background are prisoners walking through to a cliff from where they are thrown down against rocks and thorny bushes, as well as scenes of fighting, stoning and hitting with huge clubs.At the center of the crowded scene, dressed in black, are two characters who walk placidly, apparently unaware of the horrors around them: one is Dürer's self-portrait (holding his signature), the other his friend and humanist Conrad Celtes, who had died a few months before the execution of the painting.

File:Martirio dei diecimila, incisione.jpg

File:Durer, Martyrdom of the Ten Thousand 04.jpg

Category:Paintings in the Kunsthistorisches Museum


Martyrdom of the Ten Thousand

Prompt: In Martyrdom of the Ten Thousand, how is the Description discussed?

The painting illustrates the legendary martyrdom of ten thousand Christian soldiers perpetrated on Mount Ararat by the King of Persia, Shapur I, by the order of the Roman emperor Hadrian or Antoninus Pius, or, according to other sources, Diocletian.Dürer painted numerous different martyrdom scenes within a forest with clearings and cliffs. In the foreground are crucifixions, decapitations, crushing with a hammer. The Persian King is portrayed as an Ottoman sultan, riding a horse on the right. The executioners also wear gaudy Ottoman dress. In the background are prisoners walking through to a cliff from where they are thrown down against rocks and thorny bushes, as well as scenes of fighting, stoning and hitting with huge clubs.At the center of the crowded scene, dressed in black, are two characters who walk placidly, apparently unaware of the horrors around them: one is Dürer's self-portrait (holding his signature), the other his friend and humanist Conrad Celtes, who had died a few months before the execution of the painting.

File:Martirio dei diecimila, incisione.jpg

File:Durer, Martyrdom of the Ten Thousand 04.jpg

Category:Paintings in the Kunsthistorisches Museum


White Flag (painting)

Prompt: Focus on White Flag (painting) and explain the abstract.

White Flag is an encaustic painting by the American artist Jasper Johns. Created in 1955, soon after his first flag painting, entitled simply Flag, it was the first painting by Johns to be acquired by the Metropolitan Museum of Art, in New York, bought from the artist in 1998. The price was undisclosed but experts estimated its value at the time as more than $20 million.The painting is a relatively early example of the many works created by Johns from 1954, inspired by a dream of the U.S. flag.  Painted on canvas using encaustic, oil, newsprint, and charcoal, White Flag is the first monochrome rendering of the US flag by Johns.  Measuring 198.9 centimetres (78.3 in) by 306.7 centimetres (120.7 in), it is also the largest of his flag paintings.Johns worked on three separately stretched areas of canvas—the 48 stars to the upper left, seven of the thirteen stripes to the upper right, and the remaining six longer stripes below—which were then combined to form a whole.   The U.S. flag is depicted in the form it took between 1912 and 1959, with 48 white stars on a blue canton representing the then U.S. states (prior to the admission of Alaska and Hawaii) with thirteen red and white stripes.  The stars and stripes are built up as a collage of paper and fabric which were dipped in molten beeswax before being applied to a ground of beeswax.  The three collages were then joined together and covered with a layer of fast-setting dirty white encaustic (beeswax mixed with white pigment), with highlights added in white oil paint.  Johns's rapid brushstrokes are clearly visible in the roughly-finished encaustic medium.  The completed work covers the whole of the canvas, with no frame.Johns's selection of the US flag allows him to explore a familiar two-dimensional object, with its simple internal geometric structure and a complex symbolic meaning.  The built-up collage distorts the flags flatness, while the off-white encaustic obliterates the flag's usual red-white-and-blue colouring, leaving a ghostly embalmed remnant.  Johns's Neo-Dada work anticipates aspects of pop art, minimal art, and conceptual art.The 1988 Christie's auction, selections from the Tremaine Collection, of a smaller version with a White Flag theme for USD$7 million was briefly the highest auction price for an artwork by a living artist,   as the record was supplanted the next day by another Johns painting.  (Regarding the smaller version, note the difference in artwork size, exhibition histories, and ownership over the years of the two works, referring to the Met webpage for the larger 'White flag'.) This smaller version was shown in photographs by Louise Lawler documenting the artwork owners' interiors and its appearance in the 1988 auction.

Miller Company Collection of Abstract Art

Category:Paintings in the Metropolitan Museum of Art

List of most expensive artworks by living artists


White Flag (painting)

Prompt: Explain the abstract of this artwork, White Flag (painting).

White Flag is an encaustic painting by the American artist Jasper Johns. Created in 1955, soon after his first flag painting, entitled simply Flag, it was the first painting by Johns to be acquired by the Metropolitan Museum of Art, in New York, bought from the artist in 1998. The price was undisclosed but experts estimated its value at the time as more than $20 million.The painting is a relatively early example of the many works created by Johns from 1954, inspired by a dream of the U.S. flag.  Painted on canvas using encaustic, oil, newsprint, and charcoal, White Flag is the first monochrome rendering of the US flag by Johns.  Measuring 198.9 centimetres (78.3 in) by 306.7 centimetres (120.7 in), it is also the largest of his flag paintings.Johns worked on three separately stretched areas of canvas—the 48 stars to the upper left, seven of the thirteen stripes to the upper right, and the remaining six longer stripes below—which were then combined to form a whole.   The U.S. flag is depicted in the form it took between 1912 and 1959, with 48 white stars on a blue canton representing the then U.S. states (prior to the admission of Alaska and Hawaii) with thirteen red and white stripes.  The stars and stripes are built up as a collage of paper and fabric which were dipped in molten beeswax before being applied to a ground of beeswax.  The three collages were then joined together and covered with a layer of fast-setting dirty white encaustic (beeswax mixed with white pigment), with highlights added in white oil paint.  Johns's rapid brushstrokes are clearly visible in the roughly-finished encaustic medium.  The completed work covers the whole of the canvas, with no frame.Johns's selection of the US flag allows him to explore a familiar two-dimensional object, with its simple internal geometric structure and a complex symbolic meaning.  The built-up collage distorts the flags flatness, while the off-white encaustic obliterates the flag's usual red-white-and-blue colouring, leaving a ghostly embalmed remnant.  Johns's Neo-Dada work anticipates aspects of pop art, minimal art, and conceptual art.The 1988 Christie's auction, selections from the Tremaine Collection, of a smaller version with a White Flag theme for USD$7 million was briefly the highest auction price for an artwork by a living artist,   as the record was supplanted the next day by another Johns painting.  (Regarding the smaller version, note the difference in artwork size, exhibition histories, and ownership over the years of the two works, referring to the Met webpage for the larger 'White flag'.) This smaller version was shown in photographs by Louise Lawler documenting the artwork owners' interiors and its appearance in the 1988 auction.

Miller Company Collection of Abstract Art

Category:Paintings in the Metropolitan Museum of Art

List of most expensive artworks by living artists


White Flag (painting)

Prompt: How does White Flag (painting) explain its abstract?

White Flag is an encaustic painting by the American artist Jasper Johns. Created in 1955, soon after his first flag painting, entitled simply Flag, it was the first painting by Johns to be acquired by the Metropolitan Museum of Art, in New York, bought from the artist in 1998. The price was undisclosed but experts estimated its value at the time as more than $20 million.The painting is a relatively early example of the many works created by Johns from 1954, inspired by a dream of the U.S. flag.  Painted on canvas using encaustic, oil, newsprint, and charcoal, White Flag is the first monochrome rendering of the US flag by Johns.  Measuring 198.9 centimetres (78.3 in) by 306.7 centimetres (120.7 in), it is also the largest of his flag paintings.Johns worked on three separately stretched areas of canvas—the 48 stars to the upper left, seven of the thirteen stripes to the upper right, and the remaining six longer stripes below—which were then combined to form a whole.   The U.S. flag is depicted in the form it took between 1912 and 1959, with 48 white stars on a blue canton representing the then U.S. states (prior to the admission of Alaska and Hawaii) with thirteen red and white stripes.  The stars and stripes are built up as a collage of paper and fabric which were dipped in molten beeswax before being applied to a ground of beeswax.  The three collages were then joined together and covered with a layer of fast-setting dirty white encaustic (beeswax mixed with white pigment), with highlights added in white oil paint.  Johns's rapid brushstrokes are clearly visible in the roughly-finished encaustic medium.  The completed work covers the whole of the canvas, with no frame.Johns's selection of the US flag allows him to explore a familiar two-dimensional object, with its simple internal geometric structure and a complex symbolic meaning.  The built-up collage distorts the flags flatness, while the off-white encaustic obliterates the flag's usual red-white-and-blue colouring, leaving a ghostly embalmed remnant.  Johns's Neo-Dada work anticipates aspects of pop art, minimal art, and conceptual art.The 1988 Christie's auction, selections from the Tremaine Collection, of a smaller version with a White Flag theme for USD$7 million was briefly the highest auction price for an artwork by a living artist,   as the record was supplanted the next day by another Johns painting.  (Regarding the smaller version, note the difference in artwork size, exhibition histories, and ownership over the years of the two works, referring to the Met webpage for the larger 'White flag'.) This smaller version was shown in photographs by Louise Lawler documenting the artwork owners' interiors and its appearance in the 1988 auction.

Miller Company Collection of Abstract Art

Category:Paintings in the Metropolitan Museum of Art

List of most expensive artworks by living artists


White Flag (painting)

Prompt: In White Flag (painting), how is the abstract discussed?

White Flag is an encaustic painting by the American artist Jasper Johns. Created in 1955, soon after his first flag painting, entitled simply Flag, it was the first painting by Johns to be acquired by the Metropolitan Museum of Art, in New York, bought from the artist in 1998. The price was undisclosed but experts estimated its value at the time as more than $20 million.The painting is a relatively early example of the many works created by Johns from 1954, inspired by a dream of the U.S. flag.  Painted on canvas using encaustic, oil, newsprint, and charcoal, White Flag is the first monochrome rendering of the US flag by Johns.  Measuring 198.9 centimetres (78.3 in) by 306.7 centimetres (120.7 in), it is also the largest of his flag paintings.Johns worked on three separately stretched areas of canvas—the 48 stars to the upper left, seven of the thirteen stripes to the upper right, and the remaining six longer stripes below—which were then combined to form a whole.   The U.S. flag is depicted in the form it took between 1912 and 1959, with 48 white stars on a blue canton representing the then U.S. states (prior to the admission of Alaska and Hawaii) with thirteen red and white stripes.  The stars and stripes are built up as a collage of paper and fabric which were dipped in molten beeswax before being applied to a ground of beeswax.  The three collages were then joined together and covered with a layer of fast-setting dirty white encaustic (beeswax mixed with white pigment), with highlights added in white oil paint.  Johns's rapid brushstrokes are clearly visible in the roughly-finished encaustic medium.  The completed work covers the whole of the canvas, with no frame.Johns's selection of the US flag allows him to explore a familiar two-dimensional object, with its simple internal geometric structure and a complex symbolic meaning.  The built-up collage distorts the flags flatness, while the off-white encaustic obliterates the flag's usual red-white-and-blue colouring, leaving a ghostly embalmed remnant.  Johns's Neo-Dada work anticipates aspects of pop art, minimal art, and conceptual art.The 1988 Christie's auction, selections from the Tremaine Collection, of a smaller version with a White Flag theme for USD$7 million was briefly the highest auction price for an artwork by a living artist,   as the record was supplanted the next day by another Johns painting.  (Regarding the smaller version, note the difference in artwork size, exhibition histories, and ownership over the years of the two works, referring to the Met webpage for the larger 'White flag'.) This smaller version was shown in photographs by Louise Lawler documenting the artwork owners' interiors and its appearance in the 1988 auction.

Miller Company Collection of Abstract Art

Category:Paintings in the Metropolitan Museum of Art

List of most expensive artworks by living artists


Pala delle Convertite

Prompt: Focus on Pala delle Convertite and explain the abstract.

The Pala delle Convertite or The Trinity with Saints Mary Magdalen and John the Baptist, (the museum's name) or Holy Trinity, is an altarpiece by the Italian Renaissance painter Sandro Botticelli and his workshop, traditionally dated to c. 1491–1493. It is now in the Courtauld Gallery in London.  It is now thought the painting was begun much earlier, perhaps in the 1470s, and was worked on during three decades. It was commissioned by the Arte dei Medici e degli Speziali (guild of the Doctors and Pharmacists, to which the painters also belonged) for the church of Santa Elisabetta delle Convertite in Florence, a church institution housing former prostitutes or fallen women, who had converted from their previous life, and whose patron saint was Mary Magdalene  The traditional Italian name means the altarpiece or "panel" (pala) of the "converted ones" (convertite).A restoration of the painting was completed in 2021.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings in the Courtauld Gallery

Category:Paintings of Raphael (archangel)

File:Sandro Botticelli - Holy Trinity (detail) - WGA02831.jpg


Pala delle Convertite

Prompt: Explain the abstract of this artwork, Pala delle Convertite.

The Pala delle Convertite or The Trinity with Saints Mary Magdalen and John the Baptist, (the museum's name) or Holy Trinity, is an altarpiece by the Italian Renaissance painter Sandro Botticelli and his workshop, traditionally dated to c. 1491–1493. It is now in the Courtauld Gallery in London.  It is now thought the painting was begun much earlier, perhaps in the 1470s, and was worked on during three decades. It was commissioned by the Arte dei Medici e degli Speziali (guild of the Doctors and Pharmacists, to which the painters also belonged) for the church of Santa Elisabetta delle Convertite in Florence, a church institution housing former prostitutes or fallen women, who had converted from their previous life, and whose patron saint was Mary Magdalene  The traditional Italian name means the altarpiece or "panel" (pala) of the "converted ones" (convertite).A restoration of the painting was completed in 2021.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings in the Courtauld Gallery

Category:Paintings of Raphael (archangel)

File:Sandro Botticelli - Holy Trinity (detail) - WGA02831.jpg


Pala delle Convertite

Prompt: How does Pala delle Convertite explain its abstract?

The Pala delle Convertite or The Trinity with Saints Mary Magdalen and John the Baptist, (the museum's name) or Holy Trinity, is an altarpiece by the Italian Renaissance painter Sandro Botticelli and his workshop, traditionally dated to c. 1491–1493. It is now in the Courtauld Gallery in London.  It is now thought the painting was begun much earlier, perhaps in the 1470s, and was worked on during three decades. It was commissioned by the Arte dei Medici e degli Speziali (guild of the Doctors and Pharmacists, to which the painters also belonged) for the church of Santa Elisabetta delle Convertite in Florence, a church institution housing former prostitutes or fallen women, who had converted from their previous life, and whose patron saint was Mary Magdalene  The traditional Italian name means the altarpiece or "panel" (pala) of the "converted ones" (convertite).A restoration of the painting was completed in 2021.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings in the Courtauld Gallery

Category:Paintings of Raphael (archangel)

File:Sandro Botticelli - Holy Trinity (detail) - WGA02831.jpg


Pala delle Convertite

Prompt: In Pala delle Convertite, how is the abstract discussed?

The Pala delle Convertite or The Trinity with Saints Mary Magdalen and John the Baptist, (the museum's name) or Holy Trinity, is an altarpiece by the Italian Renaissance painter Sandro Botticelli and his workshop, traditionally dated to c. 1491–1493. It is now in the Courtauld Gallery in London.  It is now thought the painting was begun much earlier, perhaps in the 1470s, and was worked on during three decades. It was commissioned by the Arte dei Medici e degli Speziali (guild of the Doctors and Pharmacists, to which the painters also belonged) for the church of Santa Elisabetta delle Convertite in Florence, a church institution housing former prostitutes or fallen women, who had converted from their previous life, and whose patron saint was Mary Magdalene  The traditional Italian name means the altarpiece or "panel" (pala) of the "converted ones" (convertite).A restoration of the painting was completed in 2021.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings in the Courtauld Gallery

Category:Paintings of Raphael (archangel)

File:Sandro Botticelli - Holy Trinity (detail) - WGA02831.jpg


Pala delle Convertite

Prompt: Focus on Pala delle Convertite and explain the Main scene.

The painting is in tempera on poplar panel. The main scene shows the Holy Trinity (Jesus crucified, God and a dove representing Holy Spirit) within an mandorla (almond-shaped frame) with seraphim. In the background is a blue sky within two rocky spurs, in front of which are Mary Magdalene, taken in an intense praying posture, and St. John the Baptist, patron saint of Florence, who, as usual in the pictures of the period, is pointing to the centre of the composition. The figure of Magdalene resembles the rather earlier "Magdalene Penitent" by Donatello, now usually dated to about 1440, and that by Desiderio da Settignano (c. 1455) in the church of Santa Trinita.There are stylistic disparities between the style of the two standing saints, suggesting they were painted at different times.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings in the Courtauld Gallery

Category:Paintings of Raphael (archangel)

File:Sandro Botticelli - Holy Trinity (detail) - WGA02831.jpg


Pala delle Convertite

Prompt: Explain the Main scene of this artwork, Pala delle Convertite.

The painting is in tempera on poplar panel. The main scene shows the Holy Trinity (Jesus crucified, God and a dove representing Holy Spirit) within an mandorla (almond-shaped frame) with seraphim. In the background is a blue sky within two rocky spurs, in front of which are Mary Magdalene, taken in an intense praying posture, and St. John the Baptist, patron saint of Florence, who, as usual in the pictures of the period, is pointing to the centre of the composition. The figure of Magdalene resembles the rather earlier "Magdalene Penitent" by Donatello, now usually dated to about 1440, and that by Desiderio da Settignano (c. 1455) in the church of Santa Trinita.There are stylistic disparities between the style of the two standing saints, suggesting they were painted at different times.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings in the Courtauld Gallery

Category:Paintings of Raphael (archangel)

File:Sandro Botticelli - Holy Trinity (detail) - WGA02831.jpg


Pala delle Convertite

Prompt: How does Pala delle Convertite explain its Main scene?

The painting is in tempera on poplar panel. The main scene shows the Holy Trinity (Jesus crucified, God and a dove representing Holy Spirit) within an mandorla (almond-shaped frame) with seraphim. In the background is a blue sky within two rocky spurs, in front of which are Mary Magdalene, taken in an intense praying posture, and St. John the Baptist, patron saint of Florence, who, as usual in the pictures of the period, is pointing to the centre of the composition. The figure of Magdalene resembles the rather earlier "Magdalene Penitent" by Donatello, now usually dated to about 1440, and that by Desiderio da Settignano (c. 1455) in the church of Santa Trinita.There are stylistic disparities between the style of the two standing saints, suggesting they were painted at different times.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings in the Courtauld Gallery

Category:Paintings of Raphael (archangel)

File:Sandro Botticelli - Holy Trinity (detail) - WGA02831.jpg


Pala delle Convertite

Prompt: In Pala delle Convertite, how is the Main scene discussed?

The painting is in tempera on poplar panel. The main scene shows the Holy Trinity (Jesus crucified, God and a dove representing Holy Spirit) within an mandorla (almond-shaped frame) with seraphim. In the background is a blue sky within two rocky spurs, in front of which are Mary Magdalene, taken in an intense praying posture, and St. John the Baptist, patron saint of Florence, who, as usual in the pictures of the period, is pointing to the centre of the composition. The figure of Magdalene resembles the rather earlier "Magdalene Penitent" by Donatello, now usually dated to about 1440, and that by Desiderio da Settignano (c. 1455) in the church of Santa Trinita.There are stylistic disparities between the style of the two standing saints, suggesting they were painted at different times.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings in the Courtauld Gallery

Category:Paintings of Raphael (archangel)

File:Sandro Botticelli - Holy Trinity (detail) - WGA02831.jpg


Pala delle Convertite

Prompt: Focus on Pala delle Convertite and explain the Tobias and the Angel.

In the lower part, at a much smaller scale, are Tobias and the Angel (the Archangel Raphael with Tobias), who is holding the fish that, in the Biblical tale, he had been told by the angel to capture in order to save his father (but his usual dog is missing). They walk past, ignoring the main scene above them; there are a number of paintings where the pair intrude on other religious scenes.  Their presence is no doubt because Raphael was the patron saint of the Arte dei Medici e degli Speziali. Modern imaging has revealed that originally this pair were on the right behind the cross in a landscape background that was later overpainted. They are painted in a somewhat different (indeed better) style than the large figures above; the heads of the seraphim in particular are considered to be painted by the workshop.   It is now thought that the first figures of Tobias and the Angel were painted by Filippino Lippi, Botticelli's main assistant in the earlier period, while the relocated pair we see now are probably by Botticelli himself, in the 1490s.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings in the Courtauld Gallery

Category:Paintings of Raphael (archangel)

File:Sandro Botticelli - Holy Trinity (detail) - WGA02831.jpg


Pala delle Convertite

Prompt: Explain the Tobias and the Angel of this artwork, Pala delle Convertite.

In the lower part, at a much smaller scale, are Tobias and the Angel (the Archangel Raphael with Tobias), who is holding the fish that, in the Biblical tale, he had been told by the angel to capture in order to save his father (but his usual dog is missing). They walk past, ignoring the main scene above them; there are a number of paintings where the pair intrude on other religious scenes.  Their presence is no doubt because Raphael was the patron saint of the Arte dei Medici e degli Speziali. Modern imaging has revealed that originally this pair were on the right behind the cross in a landscape background that was later overpainted. They are painted in a somewhat different (indeed better) style than the large figures above; the heads of the seraphim in particular are considered to be painted by the workshop.   It is now thought that the first figures of Tobias and the Angel were painted by Filippino Lippi, Botticelli's main assistant in the earlier period, while the relocated pair we see now are probably by Botticelli himself, in the 1490s.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings in the Courtauld Gallery

Category:Paintings of Raphael (archangel)

File:Sandro Botticelli - Holy Trinity (detail) - WGA02831.jpg


Pala delle Convertite

Prompt: How does Pala delle Convertite explain its Tobias and the Angel?

In the lower part, at a much smaller scale, are Tobias and the Angel (the Archangel Raphael with Tobias), who is holding the fish that, in the Biblical tale, he had been told by the angel to capture in order to save his father (but his usual dog is missing). They walk past, ignoring the main scene above them; there are a number of paintings where the pair intrude on other religious scenes.  Their presence is no doubt because Raphael was the patron saint of the Arte dei Medici e degli Speziali. Modern imaging has revealed that originally this pair were on the right behind the cross in a landscape background that was later overpainted. They are painted in a somewhat different (indeed better) style than the large figures above; the heads of the seraphim in particular are considered to be painted by the workshop.   It is now thought that the first figures of Tobias and the Angel were painted by Filippino Lippi, Botticelli's main assistant in the earlier period, while the relocated pair we see now are probably by Botticelli himself, in the 1490s.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings in the Courtauld Gallery

Category:Paintings of Raphael (archangel)

File:Sandro Botticelli - Holy Trinity (detail) - WGA02831.jpg


Pala delle Convertite

Prompt: In Pala delle Convertite, how is the Tobias and the Angel discussed?

In the lower part, at a much smaller scale, are Tobias and the Angel (the Archangel Raphael with Tobias), who is holding the fish that, in the Biblical tale, he had been told by the angel to capture in order to save his father (but his usual dog is missing). They walk past, ignoring the main scene above them; there are a number of paintings where the pair intrude on other religious scenes.  Their presence is no doubt because Raphael was the patron saint of the Arte dei Medici e degli Speziali. Modern imaging has revealed that originally this pair were on the right behind the cross in a landscape background that was later overpainted. They are painted in a somewhat different (indeed better) style than the large figures above; the heads of the seraphim in particular are considered to be painted by the workshop.   It is now thought that the first figures of Tobias and the Angel were painted by Filippino Lippi, Botticelli's main assistant in the earlier period, while the relocated pair we see now are probably by Botticelli himself, in the 1490s.

Category:Paintings of the Crucifixion of Jesus

Category:Paintings in the Courtauld Gallery

Category:Paintings of Raphael (archangel)

File:Sandro Botticelli - Holy Trinity (detail) - WGA02831.jpg


Flora (Titian)

Prompt: Focus on Flora (Titian) and explain the abstract.

Flora is an oil painting by Italian late Renaissance painter Titian, dated to around 1515 and now held at the Uffizi Gallery in Florence.

Category:Mythological paintings by Titian


Flora (Titian)

Prompt: Explain the abstract of this artwork, Flora (Titian).

Flora is an oil painting by Italian late Renaissance painter Titian, dated to around 1515 and now held at the Uffizi Gallery in Florence.

Category:Mythological paintings by Titian


Flora (Titian)

Prompt: How does Flora (Titian) explain its abstract?

Flora is an oil painting by Italian late Renaissance painter Titian, dated to around 1515 and now held at the Uffizi Gallery in Florence.

Category:Mythological paintings by Titian


Flora (Titian)

Prompt: In Flora (Titian), how is the abstract discussed?

Flora is an oil painting by Italian late Renaissance painter Titian, dated to around 1515 and now held at the Uffizi Gallery in Florence.

Category:Mythological paintings by Titian


Flora (Titian)

Prompt: Focus on Flora (Titian) and explain the History.

The work was reproduced in numerous 16th century etchings. Later, it followed an unclear series of changes of hands at Brussels and Vienna. In the 17th century, it was sold by the Spanish ambassador at Amsterdam to Archduke Leopold Wilhelm of Austria and was cited by Rembrandt in his Saskia Dressing as Flora  of London and in two portraits in Dresden and New York. Later included in the Kunsthistorisches Museum of Vienna, it was one of the works exchanged with the Uffizi.In the 18th century, it was erroneously attributed to Palma the Elder.

Category:Mythological paintings by Titian


Flora (Titian)

Prompt: Explain the History of this artwork, Flora (Titian).

The work was reproduced in numerous 16th century etchings. Later, it followed an unclear series of changes of hands at Brussels and Vienna. In the 17th century, it was sold by the Spanish ambassador at Amsterdam to Archduke Leopold Wilhelm of Austria and was cited by Rembrandt in his Saskia Dressing as Flora  of London and in two portraits in Dresden and New York. Later included in the Kunsthistorisches Museum of Vienna, it was one of the works exchanged with the Uffizi.In the 18th century, it was erroneously attributed to Palma the Elder.

Category:Mythological paintings by Titian


Flora (Titian)

Prompt: How does Flora (Titian) explain its History?

The work was reproduced in numerous 16th century etchings. Later, it followed an unclear series of changes of hands at Brussels and Vienna. In the 17th century, it was sold by the Spanish ambassador at Amsterdam to Archduke Leopold Wilhelm of Austria and was cited by Rembrandt in his Saskia Dressing as Flora  of London and in two portraits in Dresden and New York. Later included in the Kunsthistorisches Museum of Vienna, it was one of the works exchanged with the Uffizi.In the 18th century, it was erroneously attributed to Palma the Elder.

Category:Mythological paintings by Titian


Flora (Titian)

Prompt: In Flora (Titian), how is the History discussed?

The work was reproduced in numerous 16th century etchings. Later, it followed an unclear series of changes of hands at Brussels and Vienna. In the 17th century, it was sold by the Spanish ambassador at Amsterdam to Archduke Leopold Wilhelm of Austria and was cited by Rembrandt in his Saskia Dressing as Flora  of London and in two portraits in Dresden and New York. Later included in the Kunsthistorisches Museum of Vienna, it was one of the works exchanged with the Uffizi.In the 18th century, it was erroneously attributed to Palma the Elder.

Category:Mythological paintings by Titian


Flora (Titian)

Prompt: Focus on Flora (Titian) and explain the Description.

It portrays an idealized beautiful woman, a model established in the Venetian school by Titian's master Giorgione with his Laura. Her left hand holds a pink-shaded mantle, and her right holds a handful of flowers and leaves.The woman was portrayed by Titian in numerous other works of the period, including the Woman at the Mirror, the Vanity, Salome and Violante, as well as some Holy Conversations. The meaning of the painting is disputed: some, basing for example to inscriptions added to the 16th century reproductions, identifies the woman as a courtesan; other consider it a symbol of nuptial love, although her dress is not a dressing one. The identification with Flora, the ancient goddess of Spring and vegetation, derives from the presence of Spring flowers in her hands.

Category:Mythological paintings by Titian


Flora (Titian)

Prompt: Explain the Description of this artwork, Flora (Titian).

It portrays an idealized beautiful woman, a model established in the Venetian school by Titian's master Giorgione with his Laura. Her left hand holds a pink-shaded mantle, and her right holds a handful of flowers and leaves.The woman was portrayed by Titian in numerous other works of the period, including the Woman at the Mirror, the Vanity, Salome and Violante, as well as some Holy Conversations. The meaning of the painting is disputed: some, basing for example to inscriptions added to the 16th century reproductions, identifies the woman as a courtesan; other consider it a symbol of nuptial love, although her dress is not a dressing one. The identification with Flora, the ancient goddess of Spring and vegetation, derives from the presence of Spring flowers in her hands.

Category:Mythological paintings by Titian


Flora (Titian)

Prompt: How does Flora (Titian) explain its Description?

It portrays an idealized beautiful woman, a model established in the Venetian school by Titian's master Giorgione with his Laura. Her left hand holds a pink-shaded mantle, and her right holds a handful of flowers and leaves.The woman was portrayed by Titian in numerous other works of the period, including the Woman at the Mirror, the Vanity, Salome and Violante, as well as some Holy Conversations. The meaning of the painting is disputed: some, basing for example to inscriptions added to the 16th century reproductions, identifies the woman as a courtesan; other consider it a symbol of nuptial love, although her dress is not a dressing one. The identification with Flora, the ancient goddess of Spring and vegetation, derives from the presence of Spring flowers in her hands.

Category:Mythological paintings by Titian


Flora (Titian)

Prompt: In Flora (Titian), how is the Description discussed?

It portrays an idealized beautiful woman, a model established in the Venetian school by Titian's master Giorgione with his Laura. Her left hand holds a pink-shaded mantle, and her right holds a handful of flowers and leaves.The woman was portrayed by Titian in numerous other works of the period, including the Woman at the Mirror, the Vanity, Salome and Violante, as well as some Holy Conversations. The meaning of the painting is disputed: some, basing for example to inscriptions added to the 16th century reproductions, identifies the woman as a courtesan; other consider it a symbol of nuptial love, although her dress is not a dressing one. The identification with Flora, the ancient goddess of Spring and vegetation, derives from the presence of Spring flowers in her hands.

Category:Mythological paintings by Titian


Portrait of Elisabetta Gonzaga

Prompt: Focus on Portrait of Elisabetta Gonzaga and explain the abstract.

Portrait of Elisabetta Gonzaga is an oil on wood painting attributed to the Italian Renaissance artist Raphael, completed c. 1504–1505, and today housed in the Uffizi Gallery, Florence.

Category:Paintings by Raphael in the Uffizi


Portrait of Elisabetta Gonzaga

Prompt: Explain the abstract of this artwork, Portrait of Elisabetta Gonzaga.

Portrait of Elisabetta Gonzaga is an oil on wood painting attributed to the Italian Renaissance artist Raphael, completed c. 1504–1505, and today housed in the Uffizi Gallery, Florence.

Category:Paintings by Raphael in the Uffizi


Portrait of Elisabetta Gonzaga

Prompt: How does Portrait of Elisabetta Gonzaga explain its abstract?

Portrait of Elisabetta Gonzaga is an oil on wood painting attributed to the Italian Renaissance artist Raphael, completed c. 1504–1505, and today housed in the Uffizi Gallery, Florence.

Category:Paintings by Raphael in the Uffizi


Portrait of Elisabetta Gonzaga

Prompt: In Portrait of Elisabetta Gonzaga, how is the abstract discussed?

Portrait of Elisabetta Gonzaga is an oil on wood painting attributed to the Italian Renaissance artist Raphael, completed c. 1504–1505, and today housed in the Uffizi Gallery, Florence.

Category:Paintings by Raphael in the Uffizi


Portrait of Elisabetta Gonzaga

Prompt: Focus on Portrait of Elisabetta Gonzaga and explain the History.

Contemporary sources speak of a portrait of Elisabetta Gonzaga executed by Raphael.The painting was likely part of the Ducal collection of Urbino, brought to Florence in 1635 as Vittoria della Rovere's dowry. It is mentioned with certainty for the first time in 1773, when it was transferred from Palazzo Pitti to the Grand Ducal wardrobe of the Uffizi. In a 1784 inventory it was attributed  to Giovanni Bellini's school, while that of 1825 listed it as by Andrea Mantegna.It was attributed to Raphael for the first time in 1905. Other artists to whom the portrait has been assigned include Francesco Francia, Giovan Francesco Caroto, Francesco Bonsignori and Albrecht Dürer.

Category:Paintings by Raphael in the Uffizi


Portrait of Elisabetta Gonzaga

Prompt: Explain the History of this artwork, Portrait of Elisabetta Gonzaga.

Contemporary sources speak of a portrait of Elisabetta Gonzaga executed by Raphael.The painting was likely part of the Ducal collection of Urbino, brought to Florence in 1635 as Vittoria della Rovere's dowry. It is mentioned with certainty for the first time in 1773, when it was transferred from Palazzo Pitti to the Grand Ducal wardrobe of the Uffizi. In a 1784 inventory it was attributed  to Giovanni Bellini's school, while that of 1825 listed it as by Andrea Mantegna.It was attributed to Raphael for the first time in 1905. Other artists to whom the portrait has been assigned include Francesco Francia, Giovan Francesco Caroto, Francesco Bonsignori and Albrecht Dürer.

Category:Paintings by Raphael in the Uffizi


Portrait of Elisabetta Gonzaga

Prompt: How does Portrait of Elisabetta Gonzaga explain its History?

Contemporary sources speak of a portrait of Elisabetta Gonzaga executed by Raphael.The painting was likely part of the Ducal collection of Urbino, brought to Florence in 1635 as Vittoria della Rovere's dowry. It is mentioned with certainty for the first time in 1773, when it was transferred from Palazzo Pitti to the Grand Ducal wardrobe of the Uffizi. In a 1784 inventory it was attributed  to Giovanni Bellini's school, while that of 1825 listed it as by Andrea Mantegna.It was attributed to Raphael for the first time in 1905. Other artists to whom the portrait has been assigned include Francesco Francia, Giovan Francesco Caroto, Francesco Bonsignori and Albrecht Dürer.

Category:Paintings by Raphael in the Uffizi


Portrait of Elisabetta Gonzaga

Prompt: In Portrait of Elisabetta Gonzaga, how is the History discussed?

Contemporary sources speak of a portrait of Elisabetta Gonzaga executed by Raphael.The painting was likely part of the Ducal collection of Urbino, brought to Florence in 1635 as Vittoria della Rovere's dowry. It is mentioned with certainty for the first time in 1773, when it was transferred from Palazzo Pitti to the Grand Ducal wardrobe of the Uffizi. In a 1784 inventory it was attributed  to Giovanni Bellini's school, while that of 1825 listed it as by Andrea Mantegna.It was attributed to Raphael for the first time in 1905. Other artists to whom the portrait has been assigned include Francesco Francia, Giovan Francesco Caroto, Francesco Bonsignori and Albrecht Dürer.

Category:Paintings by Raphael in the Uffizi


Portrait of Elisabetta Gonzaga

Prompt: Focus on Portrait of Elisabetta Gonzaga and explain the Description.

The woman portrayed is Elisabetta Gonzaga, wife of Duke Guidobaldo I of Urbino (the portrait is now exhibited at the Uffizi next to the latter's) and a woman of literary and artistic interests. Details include the black dress with applied trim in a patchwork pattern, and the scorpion-like ferronière on the woman's forehead. Her hairdo includes the coazzone, a long plait which is present also in a medal of her now at the British Museum.

Category:Paintings by Raphael in the Uffizi


Portrait of Elisabetta Gonzaga

Prompt: Explain the Description of this artwork, Portrait of Elisabetta Gonzaga.

The woman portrayed is Elisabetta Gonzaga, wife of Duke Guidobaldo I of Urbino (the portrait is now exhibited at the Uffizi next to the latter's) and a woman of literary and artistic interests. Details include the black dress with applied trim in a patchwork pattern, and the scorpion-like ferronière on the woman's forehead. Her hairdo includes the coazzone, a long plait which is present also in a medal of her now at the British Museum.

Category:Paintings by Raphael in the Uffizi


Portrait of Elisabetta Gonzaga

Prompt: How does Portrait of Elisabetta Gonzaga explain its Description?

The woman portrayed is Elisabetta Gonzaga, wife of Duke Guidobaldo I of Urbino (the portrait is now exhibited at the Uffizi next to the latter's) and a woman of literary and artistic interests. Details include the black dress with applied trim in a patchwork pattern, and the scorpion-like ferronière on the woman's forehead. Her hairdo includes the coazzone, a long plait which is present also in a medal of her now at the British Museum.

Category:Paintings by Raphael in the Uffizi


Portrait of Elisabetta Gonzaga

Prompt: In Portrait of Elisabetta Gonzaga, how is the Description discussed?

The woman portrayed is Elisabetta Gonzaga, wife of Duke Guidobaldo I of Urbino (the portrait is now exhibited at the Uffizi next to the latter's) and a woman of literary and artistic interests. Details include the black dress with applied trim in a patchwork pattern, and the scorpion-like ferronière on the woman's forehead. Her hairdo includes the coazzone, a long plait which is present also in a medal of her now at the British Museum.

Category:Paintings by Raphael in the Uffizi


Diana of Gabii

Prompt: Focus on Diana of Gabii and explain the abstract.

The Diana of Gabii is a statue of a woman in drapery which probably represents the goddess Artemis and is traditionally attributed to the sculptor Praxiteles. It became part of the Borghese collection and is now conserved in the Louvre with the inventory number Ma 529.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Diana of Gabii

Prompt: Explain the abstract of this artwork, Diana of Gabii.

The Diana of Gabii is a statue of a woman in drapery which probably represents the goddess Artemis and is traditionally attributed to the sculptor Praxiteles. It became part of the Borghese collection and is now conserved in the Louvre with the inventory number Ma 529.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Diana of Gabii

Prompt: How does Diana of Gabii explain its abstract?

The Diana of Gabii is a statue of a woman in drapery which probably represents the goddess Artemis and is traditionally attributed to the sculptor Praxiteles. It became part of the Borghese collection and is now conserved in the Louvre with the inventory number Ma 529.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Diana of Gabii

Prompt: In Diana of Gabii, how is the abstract discussed?

The Diana of Gabii is a statue of a woman in drapery which probably represents the goddess Artemis and is traditionally attributed to the sculptor Praxiteles. It became part of the Borghese collection and is now conserved in the Louvre with the inventory number Ma 529.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Diana of Gabii

Prompt: Focus on Diana of Gabii and explain the History.

The statue was discovered in 1792 by Gavin Hamilton on the property of the Prince Borghese at Gabii, not far from Rome It was immediately added to the prince's collections. In 1807, suffering from financial difficulties, the Prince was forced to sell the statue to Napoleon and it was on display in the Louvre from 1820.The statue became very popular in the 19th century; a plaster cast was placed in the Athenaeum Club, London, a marble copy was among the copies of ancient statues produced to decorate the Louvre's central court, and a cast iron replica decorated a fountain in the village of Grancey-le-Château-Neuvelle in the Côte-d'Or. In addition, replicas of reduced size in terracotta or porcelain were manufactured and sold for art enthusiasts.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Diana of Gabii

Prompt: Explain the History of this artwork, Diana of Gabii.

The statue was discovered in 1792 by Gavin Hamilton on the property of the Prince Borghese at Gabii, not far from Rome It was immediately added to the prince's collections. In 1807, suffering from financial difficulties, the Prince was forced to sell the statue to Napoleon and it was on display in the Louvre from 1820.The statue became very popular in the 19th century; a plaster cast was placed in the Athenaeum Club, London, a marble copy was among the copies of ancient statues produced to decorate the Louvre's central court, and a cast iron replica decorated a fountain in the village of Grancey-le-Château-Neuvelle in the Côte-d'Or. In addition, replicas of reduced size in terracotta or porcelain were manufactured and sold for art enthusiasts.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Diana of Gabii

Prompt: How does Diana of Gabii explain its History?

The statue was discovered in 1792 by Gavin Hamilton on the property of the Prince Borghese at Gabii, not far from Rome It was immediately added to the prince's collections. In 1807, suffering from financial difficulties, the Prince was forced to sell the statue to Napoleon and it was on display in the Louvre from 1820.The statue became very popular in the 19th century; a plaster cast was placed in the Athenaeum Club, London, a marble copy was among the copies of ancient statues produced to decorate the Louvre's central court, and a cast iron replica decorated a fountain in the village of Grancey-le-Château-Neuvelle in the Côte-d'Or. In addition, replicas of reduced size in terracotta or porcelain were manufactured and sold for art enthusiasts.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Diana of Gabii

Prompt: In Diana of Gabii, how is the History discussed?

The statue was discovered in 1792 by Gavin Hamilton on the property of the Prince Borghese at Gabii, not far from Rome It was immediately added to the prince's collections. In 1807, suffering from financial difficulties, the Prince was forced to sell the statue to Napoleon and it was on display in the Louvre from 1820.The statue became very popular in the 19th century; a plaster cast was placed in the Athenaeum Club, London, a marble copy was among the copies of ancient statues produced to decorate the Louvre's central court, and a cast iron replica decorated a fountain in the village of Grancey-le-Château-Neuvelle in the Côte-d'Or. In addition, replicas of reduced size in terracotta or porcelain were manufactured and sold for art enthusiasts.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Diana of Gabii

Prompt: Focus on Diana of Gabii and explain the Description.

The statue represents a young woman of more than life size, standing in drapery. The weight of the body rests on the right leg, supported by a tree stump; the left leg is left free.  The left foot is thrown back and the heel slightly raised with the toes turned outward.The statue is generally identified as Artemis, virgin goddess of hunting and the wild, solely on account of her clothing. She wears what is effectively a short chiton with large sleeves, typical of the goddess. The chiton is bound by two belts: one is visible around her waist, the other is hidden, allowing a portion of the fabric to be gathered, shortening the chiton and exposing the knees. The goddess is represented in the process of pinning her cloak on: her right hand holds a fibula and lifts a fold of her clothing on her right shoulder while her left hand lifts another fold of cloth up to chest level. The movement causes the collar of the chiton to fall, leaving the left shoulder exposed.The head is turned slightly to the right, but the goddess is not really focussed on what she is doing. Instead she looks out into space, as is common for statues of the Second classicism. Her flowing hair is pulled back by a  band tied above her neck. This hair is gathered in a bun held by a second ribbon which is not visible.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Diana of Gabii

Prompt: Explain the Description of this artwork, Diana of Gabii.

The statue represents a young woman of more than life size, standing in drapery. The weight of the body rests on the right leg, supported by a tree stump; the left leg is left free.  The left foot is thrown back and the heel slightly raised with the toes turned outward.The statue is generally identified as Artemis, virgin goddess of hunting and the wild, solely on account of her clothing. She wears what is effectively a short chiton with large sleeves, typical of the goddess. The chiton is bound by two belts: one is visible around her waist, the other is hidden, allowing a portion of the fabric to be gathered, shortening the chiton and exposing the knees. The goddess is represented in the process of pinning her cloak on: her right hand holds a fibula and lifts a fold of her clothing on her right shoulder while her left hand lifts another fold of cloth up to chest level. The movement causes the collar of the chiton to fall, leaving the left shoulder exposed.The head is turned slightly to the right, but the goddess is not really focussed on what she is doing. Instead she looks out into space, as is common for statues of the Second classicism. Her flowing hair is pulled back by a  band tied above her neck. This hair is gathered in a bun held by a second ribbon which is not visible.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Diana of Gabii

Prompt: How does Diana of Gabii explain its Description?

The statue represents a young woman of more than life size, standing in drapery. The weight of the body rests on the right leg, supported by a tree stump; the left leg is left free.  The left foot is thrown back and the heel slightly raised with the toes turned outward.The statue is generally identified as Artemis, virgin goddess of hunting and the wild, solely on account of her clothing. She wears what is effectively a short chiton with large sleeves, typical of the goddess. The chiton is bound by two belts: one is visible around her waist, the other is hidden, allowing a portion of the fabric to be gathered, shortening the chiton and exposing the knees. The goddess is represented in the process of pinning her cloak on: her right hand holds a fibula and lifts a fold of her clothing on her right shoulder while her left hand lifts another fold of cloth up to chest level. The movement causes the collar of the chiton to fall, leaving the left shoulder exposed.The head is turned slightly to the right, but the goddess is not really focussed on what she is doing. Instead she looks out into space, as is common for statues of the Second classicism. Her flowing hair is pulled back by a  band tied above her neck. This hair is gathered in a bun held by a second ribbon which is not visible.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Diana of Gabii

Prompt: In Diana of Gabii, how is the Description discussed?

The statue represents a young woman of more than life size, standing in drapery. The weight of the body rests on the right leg, supported by a tree stump; the left leg is left free.  The left foot is thrown back and the heel slightly raised with the toes turned outward.The statue is generally identified as Artemis, virgin goddess of hunting and the wild, solely on account of her clothing. She wears what is effectively a short chiton with large sleeves, typical of the goddess. The chiton is bound by two belts: one is visible around her waist, the other is hidden, allowing a portion of the fabric to be gathered, shortening the chiton and exposing the knees. The goddess is represented in the process of pinning her cloak on: her right hand holds a fibula and lifts a fold of her clothing on her right shoulder while her left hand lifts another fold of cloth up to chest level. The movement causes the collar of the chiton to fall, leaving the left shoulder exposed.The head is turned slightly to the right, but the goddess is not really focussed on what she is doing. Instead she looks out into space, as is common for statues of the Second classicism. Her flowing hair is pulled back by a  band tied above her neck. This hair is gathered in a bun held by a second ribbon which is not visible.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Diana of Gabii

Prompt: Focus on Diana of Gabii and explain the Attribution.

According to Pausanias, Praxiteles created the statue of Artemis of Brauron for the Athenian Acropolis. Temple inventories dating from 347/6 BC mention among other things, a "dedicated statue," described as representing the goddess in a chitoniskos.  It is also known that the cult practiced for Artemis Brauronia included the consecration of garments offered by girls.Praxiteles' statue has long been connected with the Diana of Gabii: the goddess apparently in the act of putting on the gift of her followers. Furthermore the head resembles that of the Aphrodite of Cnidus and the Apollo Sauroctonos which are also attributed to Praxiteles. However, the identification has been questioned on several grounds. Firstly, the inventories discovered at Athens have been proven to be copies of those from the sanctuary at Brauron – it is not certain the cult in Athens also involved the dedication of cloaks. In addition, the short chiton is anachronistic for the fourth century BC and instead suggests a Hellenistic date. Finally, a more recent hypothesis connects Praxiteles' statue of Artemis Brauronia with a head in the Museum of the Ancient Agora, known as the Despinis Head.Nevertheless, the Diana of Gabii is of strikingly high quality, and conforms closely to what is commonly considered to be the Praxitelian style, leading some scholars to maintain  that the statue is a work of Praxiteles or one of his sons.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Diana of Gabii

Prompt: Explain the Attribution of this artwork, Diana of Gabii.

According to Pausanias, Praxiteles created the statue of Artemis of Brauron for the Athenian Acropolis. Temple inventories dating from 347/6 BC mention among other things, a "dedicated statue," described as representing the goddess in a chitoniskos.  It is also known that the cult practiced for Artemis Brauronia included the consecration of garments offered by girls.Praxiteles' statue has long been connected with the Diana of Gabii: the goddess apparently in the act of putting on the gift of her followers. Furthermore the head resembles that of the Aphrodite of Cnidus and the Apollo Sauroctonos which are also attributed to Praxiteles. However, the identification has been questioned on several grounds. Firstly, the inventories discovered at Athens have been proven to be copies of those from the sanctuary at Brauron – it is not certain the cult in Athens also involved the dedication of cloaks. In addition, the short chiton is anachronistic for the fourth century BC and instead suggests a Hellenistic date. Finally, a more recent hypothesis connects Praxiteles' statue of Artemis Brauronia with a head in the Museum of the Ancient Agora, known as the Despinis Head.Nevertheless, the Diana of Gabii is of strikingly high quality, and conforms closely to what is commonly considered to be the Praxitelian style, leading some scholars to maintain  that the statue is a work of Praxiteles or one of his sons.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Diana of Gabii

Prompt: How does Diana of Gabii explain its Attribution?

According to Pausanias, Praxiteles created the statue of Artemis of Brauron for the Athenian Acropolis. Temple inventories dating from 347/6 BC mention among other things, a "dedicated statue," described as representing the goddess in a chitoniskos.  It is also known that the cult practiced for Artemis Brauronia included the consecration of garments offered by girls.Praxiteles' statue has long been connected with the Diana of Gabii: the goddess apparently in the act of putting on the gift of her followers. Furthermore the head resembles that of the Aphrodite of Cnidus and the Apollo Sauroctonos which are also attributed to Praxiteles. However, the identification has been questioned on several grounds. Firstly, the inventories discovered at Athens have been proven to be copies of those from the sanctuary at Brauron – it is not certain the cult in Athens also involved the dedication of cloaks. In addition, the short chiton is anachronistic for the fourth century BC and instead suggests a Hellenistic date. Finally, a more recent hypothesis connects Praxiteles' statue of Artemis Brauronia with a head in the Museum of the Ancient Agora, known as the Despinis Head.Nevertheless, the Diana of Gabii is of strikingly high quality, and conforms closely to what is commonly considered to be the Praxitelian style, leading some scholars to maintain  that the statue is a work of Praxiteles or one of his sons.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Diana of Gabii

Prompt: In Diana of Gabii, how is the Attribution discussed?

According to Pausanias, Praxiteles created the statue of Artemis of Brauron for the Athenian Acropolis. Temple inventories dating from 347/6 BC mention among other things, a "dedicated statue," described as representing the goddess in a chitoniskos.  It is also known that the cult practiced for Artemis Brauronia included the consecration of garments offered by girls.Praxiteles' statue has long been connected with the Diana of Gabii: the goddess apparently in the act of putting on the gift of her followers. Furthermore the head resembles that of the Aphrodite of Cnidus and the Apollo Sauroctonos which are also attributed to Praxiteles. However, the identification has been questioned on several grounds. Firstly, the inventories discovered at Athens have been proven to be copies of those from the sanctuary at Brauron – it is not certain the cult in Athens also involved the dedication of cloaks. In addition, the short chiton is anachronistic for the fourth century BC and instead suggests a Hellenistic date. Finally, a more recent hypothesis connects Praxiteles' statue of Artemis Brauronia with a head in the Museum of the Ancient Agora, known as the Despinis Head.Nevertheless, the Diana of Gabii is of strikingly high quality, and conforms closely to what is commonly considered to be the Praxitelian style, leading some scholars to maintain  that the statue is a work of Praxiteles or one of his sons.

Category:Ancient Greek sculpture by period

Category:Ancient Greek and Roman sculptures in the Louvre

Category:Archaeological discoveries in Italy


Modena Triptych

Prompt: Focus on Modena Triptych and explain the abstract.

The Modena Triptych is 1568 triptych (three panel painting) by the artist El Greco, who was also known as Doménikos Theotokópoulos.This portable altarpiece is painted on both sides and has an Italian Renaissance frame. The front depicts the Adoration of the Shepherds, a Christian knight being crowned by Christ in glory, and the Baptism of Jesus. The back panels show the Annunciation to Mary, Mount Sinai, and Adam and Eve. The back panel shows pilgrims on the way to the Saint Catherine's Monastery in Egypt as if on their way to Heaven.

Category:Paintings in the Galleria Estense

Category:Paintings of the Baptism of Christ


Modena Triptych

Prompt: Explain the abstract of this artwork, Modena Triptych.

The Modena Triptych is 1568 triptych (three panel painting) by the artist El Greco, who was also known as Doménikos Theotokópoulos.This portable altarpiece is painted on both sides and has an Italian Renaissance frame. The front depicts the Adoration of the Shepherds, a Christian knight being crowned by Christ in glory, and the Baptism of Jesus. The back panels show the Annunciation to Mary, Mount Sinai, and Adam and Eve. The back panel shows pilgrims on the way to the Saint Catherine's Monastery in Egypt as if on their way to Heaven.

Category:Paintings in the Galleria Estense

Category:Paintings of the Baptism of Christ


Modena Triptych

Prompt: How does Modena Triptych explain its abstract?

The Modena Triptych is 1568 triptych (three panel painting) by the artist El Greco, who was also known as Doménikos Theotokópoulos.This portable altarpiece is painted on both sides and has an Italian Renaissance frame. The front depicts the Adoration of the Shepherds, a Christian knight being crowned by Christ in glory, and the Baptism of Jesus. The back panels show the Annunciation to Mary, Mount Sinai, and Adam and Eve. The back panel shows pilgrims on the way to the Saint Catherine's Monastery in Egypt as if on their way to Heaven.

Category:Paintings in the Galleria Estense

Category:Paintings of the Baptism of Christ


Modena Triptych

Prompt: In Modena Triptych, how is the abstract discussed?

The Modena Triptych is 1568 triptych (three panel painting) by the artist El Greco, who was also known as Doménikos Theotokópoulos.This portable altarpiece is painted on both sides and has an Italian Renaissance frame. The front depicts the Adoration of the Shepherds, a Christian knight being crowned by Christ in glory, and the Baptism of Jesus. The back panels show the Annunciation to Mary, Mount Sinai, and Adam and Eve. The back panel shows pilgrims on the way to the Saint Catherine's Monastery in Egypt as if on their way to Heaven.

Category:Paintings in the Galleria Estense

Category:Paintings of the Baptism of Christ


Minerva Protecting Peace from Mars

Prompt: Focus on Minerva Protecting Peace from Mars and explain the abstract.

Minerva protecting Peace from Mars or Peace and War is a painting by Peter Paul Rubens. He produced it in London between 1629 and 1630, during a diplomatic mission from the Spanish Netherlands to Charles I of England. It is now in the National Gallery, London.It shows Minerva (goddess of war, wisdom and crafts) fighting off Mars, with the nude figure of the goddess Pax (commonly known as "Peace" in English) in the centre.

Category:Mythological paintings by Peter Paul Rubens

Category:Paintings by Peter Paul Rubens in the National Gallery, London


Minerva Protecting Peace from Mars

Prompt: Explain the abstract of this artwork, Minerva Protecting Peace from Mars.

Minerva protecting Peace from Mars or Peace and War is a painting by Peter Paul Rubens. He produced it in London between 1629 and 1630, during a diplomatic mission from the Spanish Netherlands to Charles I of England. It is now in the National Gallery, London.It shows Minerva (goddess of war, wisdom and crafts) fighting off Mars, with the nude figure of the goddess Pax (commonly known as "Peace" in English) in the centre.

Category:Mythological paintings by Peter Paul Rubens

Category:Paintings by Peter Paul Rubens in the National Gallery, London


Minerva Protecting Peace from Mars

Prompt: How does Minerva Protecting Peace from Mars explain its abstract?

Minerva protecting Peace from Mars or Peace and War is a painting by Peter Paul Rubens. He produced it in London between 1629 and 1630, during a diplomatic mission from the Spanish Netherlands to Charles I of England. It is now in the National Gallery, London.It shows Minerva (goddess of war, wisdom and crafts) fighting off Mars, with the nude figure of the goddess Pax (commonly known as "Peace" in English) in the centre.

Category:Mythological paintings by Peter Paul Rubens

Category:Paintings by Peter Paul Rubens in the National Gallery, London


Minerva Protecting Peace from Mars

Prompt: In Minerva Protecting Peace from Mars, how is the abstract discussed?

Minerva protecting Peace from Mars or Peace and War is a painting by Peter Paul Rubens. He produced it in London between 1629 and 1630, during a diplomatic mission from the Spanish Netherlands to Charles I of England. It is now in the National Gallery, London.It shows Minerva (goddess of war, wisdom and crafts) fighting off Mars, with the nude figure of the goddess Pax (commonly known as "Peace" in English) in the centre.

Category:Mythological paintings by Peter Paul Rubens

Category:Paintings by Peter Paul Rubens in the National Gallery, London


The Winnower (Millet)

Prompt: Focus on The Winnower (Millet) and explain the abstract.

The Winnower is the title of three oil on canvas paintings by French artist Jean-François Millet, created between 1847 and 1848. The first, now held at the National Gallery, in London, was painted in 1847-1848, and presented at the Salon of 1848. Subsequently, Millet created two other versions, one kept at the Louvre Museum, in Paris, much smaller than the original, and the other at the Musée d'Orsay, also in Paris.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: Explain the abstract of this artwork, The Winnower (Millet).

The Winnower is the title of three oil on canvas paintings by French artist Jean-François Millet, created between 1847 and 1848. The first, now held at the National Gallery, in London, was painted in 1847-1848, and presented at the Salon of 1848. Subsequently, Millet created two other versions, one kept at the Louvre Museum, in Paris, much smaller than the original, and the other at the Musée d'Orsay, also in Paris.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: How does The Winnower (Millet) explain its abstract?

The Winnower is the title of three oil on canvas paintings by French artist Jean-François Millet, created between 1847 and 1848. The first, now held at the National Gallery, in London, was painted in 1847-1848, and presented at the Salon of 1848. Subsequently, Millet created two other versions, one kept at the Louvre Museum, in Paris, much smaller than the original, and the other at the Musée d'Orsay, also in Paris.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: In The Winnower (Millet), how is the abstract discussed?

The Winnower is the title of three oil on canvas paintings by French artist Jean-François Millet, created between 1847 and 1848. The first, now held at the National Gallery, in London, was painted in 1847-1848, and presented at the Salon of 1848. Subsequently, Millet created two other versions, one kept at the Louvre Museum, in Paris, much smaller than the original, and the other at the Musée d'Orsay, also in Paris.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: Focus on The Winnower (Millet) and explain the History.

The first version of The Winnower was presented in the Grand Salon during the Salon of 1848, at the same time as The Captivity of the Jews of Babylon. If this work, as an history painting, was intended to attract buyers, the first marked Millet's entry into a new genre: the painting of peasant daily life. Indeed, with this representation of a winnower, Millet turns away from his literary and artistic references to offer works directly inspired by the peasant life, a vein that he will pursue from 1849 by settling in Barbizon. Furthermore Millet also produced at least two other versions of the work. The first, much smaller, is on display at the Louvre Museum, and the second is at the Musée d'Orsay.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: Explain the History of this artwork, The Winnower (Millet).

The first version of The Winnower was presented in the Grand Salon during the Salon of 1848, at the same time as The Captivity of the Jews of Babylon. If this work, as an history painting, was intended to attract buyers, the first marked Millet's entry into a new genre: the painting of peasant daily life. Indeed, with this representation of a winnower, Millet turns away from his literary and artistic references to offer works directly inspired by the peasant life, a vein that he will pursue from 1849 by settling in Barbizon. Furthermore Millet also produced at least two other versions of the work. The first, much smaller, is on display at the Louvre Museum, and the second is at the Musée d'Orsay.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: How does The Winnower (Millet) explain its History?

The first version of The Winnower was presented in the Grand Salon during the Salon of 1848, at the same time as The Captivity of the Jews of Babylon. If this work, as an history painting, was intended to attract buyers, the first marked Millet's entry into a new genre: the painting of peasant daily life. Indeed, with this representation of a winnower, Millet turns away from his literary and artistic references to offer works directly inspired by the peasant life, a vein that he will pursue from 1849 by settling in Barbizon. Furthermore Millet also produced at least two other versions of the work. The first, much smaller, is on display at the Louvre Museum, and the second is at the Musée d'Orsay.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: In The Winnower (Millet), how is the History discussed?

The first version of The Winnower was presented in the Grand Salon during the Salon of 1848, at the same time as The Captivity of the Jews of Babylon. If this work, as an history painting, was intended to attract buyers, the first marked Millet's entry into a new genre: the painting of peasant daily life. Indeed, with this representation of a winnower, Millet turns away from his literary and artistic references to offer works directly inspired by the peasant life, a vein that he will pursue from 1849 by settling in Barbizon. Furthermore Millet also produced at least two other versions of the work. The first, much smaller, is on display at the Louvre Museum, and the second is at the Musée d'Orsay.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: Focus on The Winnower (Millet) and explain the Description.

This series indeed represents each time a winnower, dressed in his working clothes and with clogs on his feet, who, using a van, blows up the grain to separate it from the straw. An evolution in the representation is however notable in the three paintings. The winnower indeed seems to recover from one version to another.Be that as it may, The Winnower like Millet's other figures, gleaners, shepherdesses, ploughmen, etc, is much more the representation of a type than of an individual person. Millet wanted above all to create “syntheses” as he called them. The appearance of these peasant subject in Millet's work may have been favored by the socialist climate that reigned around the Revolution of 1848, even if Millet did not participate in it and refused to be called a "socialist".

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: Explain the Description of this artwork, The Winnower (Millet).

This series indeed represents each time a winnower, dressed in his working clothes and with clogs on his feet, who, using a van, blows up the grain to separate it from the straw. An evolution in the representation is however notable in the three paintings. The winnower indeed seems to recover from one version to another.Be that as it may, The Winnower like Millet's other figures, gleaners, shepherdesses, ploughmen, etc, is much more the representation of a type than of an individual person. Millet wanted above all to create “syntheses” as he called them. The appearance of these peasant subject in Millet's work may have been favored by the socialist climate that reigned around the Revolution of 1848, even if Millet did not participate in it and refused to be called a "socialist".

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: How does The Winnower (Millet) explain its Description?

This series indeed represents each time a winnower, dressed in his working clothes and with clogs on his feet, who, using a van, blows up the grain to separate it from the straw. An evolution in the representation is however notable in the three paintings. The winnower indeed seems to recover from one version to another.Be that as it may, The Winnower like Millet's other figures, gleaners, shepherdesses, ploughmen, etc, is much more the representation of a type than of an individual person. Millet wanted above all to create “syntheses” as he called them. The appearance of these peasant subject in Millet's work may have been favored by the socialist climate that reigned around the Revolution of 1848, even if Millet did not participate in it and refused to be called a "socialist".

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: In The Winnower (Millet), how is the Description discussed?

This series indeed represents each time a winnower, dressed in his working clothes and with clogs on his feet, who, using a van, blows up the grain to separate it from the straw. An evolution in the representation is however notable in the three paintings. The winnower indeed seems to recover from one version to another.Be that as it may, The Winnower like Millet's other figures, gleaners, shepherdesses, ploughmen, etc, is much more the representation of a type than of an individual person. Millet wanted above all to create “syntheses” as he called them. The appearance of these peasant subject in Millet's work may have been favored by the socialist climate that reigned around the Revolution of 1848, even if Millet did not participate in it and refused to be called a "socialist".

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: Focus on The Winnower (Millet) and explain the Reception.

Writer Théophile Gautier in his work about the Salon de 1848 described this painting thus: “It is impossible to see anything rougher, more fierce, more bristling, more uncultivated; well! this mortar, this thick mess to retain the brush, is of excellent locality, of a fine and warm tone when one steps back three paces. This winnower who raises his van with his ragged knee, and raises into the air, in the middle of a column of golden dust, the grain of his basket, arches his back in the most masterly manner." He also adds that "M. Millet's painting has everything it takes to exasperate the bourgeois with hairless chins", a remark which explains the interest that the Republicans found in this work.This painting, presented at the Salon of 1848, stood out among the 5000 other works exhibited that year, and was bought for 500 francs by Alexandre-Ledru-Rollin, Minister of the Provisional Government.Its importance is all the greater as it notably inspired Gustave Courbet for his painting The Stone Breakers, made in 1849, which was destroyed during the bombardment of Dresden in 1945.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: Explain the Reception of this artwork, The Winnower (Millet).

Writer Théophile Gautier in his work about the Salon de 1848 described this painting thus: “It is impossible to see anything rougher, more fierce, more bristling, more uncultivated; well! this mortar, this thick mess to retain the brush, is of excellent locality, of a fine and warm tone when one steps back three paces. This winnower who raises his van with his ragged knee, and raises into the air, in the middle of a column of golden dust, the grain of his basket, arches his back in the most masterly manner." He also adds that "M. Millet's painting has everything it takes to exasperate the bourgeois with hairless chins", a remark which explains the interest that the Republicans found in this work.This painting, presented at the Salon of 1848, stood out among the 5000 other works exhibited that year, and was bought for 500 francs by Alexandre-Ledru-Rollin, Minister of the Provisional Government.Its importance is all the greater as it notably inspired Gustave Courbet for his painting The Stone Breakers, made in 1849, which was destroyed during the bombardment of Dresden in 1945.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists


The Winnower (Millet)

Prompt: How does The Winnower (Millet) explain its Reception?

Writer Théophile Gautier in his work about the Salon de 1848 described this painting thus: “It is impossible to see anything rougher, more fierce, more bristling, more uncultivated; well! this mortar, this thick mess to retain the brush, is of excellent locality, of a fine and warm tone when one steps back three paces. This winnower who raises his van with his ragged knee, and raises into the air, in the middle of a column of golden dust, the grain of his basket, arches his back in the most masterly manner." He also adds that "M. Millet's painting has everything it takes to exasperate the bourgeois with hairless chins", a remark which explains the interest that the Republicans found in this work.This painting, presented at the Salon of 1848, stood out among the 5000 other works exhibited that year, and was bought for 500 francs by Alexandre-Ledru-Rollin, Minister of the Provisional Government.Its importance is all the greater as it notably inspired Gustave Courbet for his painting The Stone Breakers, made in 1849, which was destroyed during the bombardment of Dresden in 1945.

Category:Paintings in the National Gallery, London

File:Jean-François Millet (II) - Un vanneur.jpg

Category:Paintings by Jean-François Millet

''The Winnower'' (c. 1848), third version

File:Jean-François Millet (II) - The Winnower - WGA15688.jpg

Category:Paintings in the Louvre by French artists