Salon des Refusés

Prompt: In the context of Salon des Refusés, explain the Le déjeuner sur l'herbe and the Works in the exhibition.

Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit Déjeuner sur l'herbe and two other paintings in the 1863 Salon des Refusés. Déjeuner sur l'herbe depicts the juxtaposition of a female nude and a scantily dressed female bather in the background, on a picnic with two fully dressed men in a rural setting. The painting sparked public notoriety and stirred up controversy and has remained controversial, even to this day. There is a discussion of it, from this point of view, in Proust's Remembrance of Things Past.One interpretation of the work is that it depicts the rampant prostitution in the Bois de Boulogne, a large park at the western outskirts of Paris, at the time. This prostitution was common knowledge in Paris, but was considered a taboo subject unsuitable for a painting.Émile Zola comments about Déjeuner sur l'herbe:The Luncheon on the Grass is the greatest work of Édouard Manet, one in which he realizes the dream of all painters: to place figures of natural grandeur in a landscape.  We know the power with which he vanquished this difficulty.  There are some leaves, some tree trunks, and, in the background, a river in which a chemise-wearing woman bathes; in the foreground, two young men are seated across from a second woman who has just exited the water and who dries her naked skin in the open air.  This nude woman has scandalized the public, who see only her in the canvas.  My God!  What indecency: a woman without the slightest covering between two clothed men!  That has never been seen.  And this belief is a gross error, for in the Louvre there are more than fifty paintings in which are found mixes of persons clothed and nude.  But no one goes to the Louvre to be scandalized.  The crowd has kept itself moreover from judging The Luncheon on the Grass like a veritable work of art should be judged; they see in it only some people who are having a picnic, finishing bathing, and they believed that the artist had placed an obscene intent in the disposition of the subject, while the artist had simply sought to obtain vibrant oppositions and a straightforward audience.  Painters, especially Édouard Manet, who is an analytic painter, do not have this preoccupation with the subject which torments the crowd above all; the subject, for them, is merely a pretext to paint, while for the crowd, the subject alone exists.  Thus, assuredly, the nude woman of The Luncheon on the Grass is only there to furnish the artist the occasion to paint a bit of flesh.  That which must be seen in the painting is not a luncheon on the grass; it is the entire landscape, with its vigors and its finesses, with its foregrounds so large, so solid, and its backgrounds of a light delicateness; it is this firm modeled flesh under great spots of light, these tissues supple and strong, and particularly this delicious silhouette of a woman wearing a chemise who makes, in the background, an adorable dapple of white in the milieu of green leaves.  It is, in short, this vast ensemble, full of atmosphere, this corner of nature rendered with a simplicity so just, all of this admirable page in which an artist has placed all the particular and rare elements which are in him.Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre (The Masterpiece) (1886).

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: Explain the Le déjeuner sur l'herbe about the Works in the exhibition of this artwork, Salon des Refusés.

Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit Déjeuner sur l'herbe and two other paintings in the 1863 Salon des Refusés. Déjeuner sur l'herbe depicts the juxtaposition of a female nude and a scantily dressed female bather in the background, on a picnic with two fully dressed men in a rural setting. The painting sparked public notoriety and stirred up controversy and has remained controversial, even to this day. There is a discussion of it, from this point of view, in Proust's Remembrance of Things Past.One interpretation of the work is that it depicts the rampant prostitution in the Bois de Boulogne, a large park at the western outskirts of Paris, at the time. This prostitution was common knowledge in Paris, but was considered a taboo subject unsuitable for a painting.Émile Zola comments about Déjeuner sur l'herbe:The Luncheon on the Grass is the greatest work of Édouard Manet, one in which he realizes the dream of all painters: to place figures of natural grandeur in a landscape.  We know the power with which he vanquished this difficulty.  There are some leaves, some tree trunks, and, in the background, a river in which a chemise-wearing woman bathes; in the foreground, two young men are seated across from a second woman who has just exited the water and who dries her naked skin in the open air.  This nude woman has scandalized the public, who see only her in the canvas.  My God!  What indecency: a woman without the slightest covering between two clothed men!  That has never been seen.  And this belief is a gross error, for in the Louvre there are more than fifty paintings in which are found mixes of persons clothed and nude.  But no one goes to the Louvre to be scandalized.  The crowd has kept itself moreover from judging The Luncheon on the Grass like a veritable work of art should be judged; they see in it only some people who are having a picnic, finishing bathing, and they believed that the artist had placed an obscene intent in the disposition of the subject, while the artist had simply sought to obtain vibrant oppositions and a straightforward audience.  Painters, especially Édouard Manet, who is an analytic painter, do not have this preoccupation with the subject which torments the crowd above all; the subject, for them, is merely a pretext to paint, while for the crowd, the subject alone exists.  Thus, assuredly, the nude woman of The Luncheon on the Grass is only there to furnish the artist the occasion to paint a bit of flesh.  That which must be seen in the painting is not a luncheon on the grass; it is the entire landscape, with its vigors and its finesses, with its foregrounds so large, so solid, and its backgrounds of a light delicateness; it is this firm modeled flesh under great spots of light, these tissues supple and strong, and particularly this delicious silhouette of a woman wearing a chemise who makes, in the background, an adorable dapple of white in the milieu of green leaves.  It is, in short, this vast ensemble, full of atmosphere, this corner of nature rendered with a simplicity so just, all of this admirable page in which an artist has placed all the particular and rare elements which are in him.Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre (The Masterpiece) (1886).

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: In Salon des Refusés, how is the Le déjeuner sur l'herbe of the Works in the exhibition explained?

Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit Déjeuner sur l'herbe and two other paintings in the 1863 Salon des Refusés. Déjeuner sur l'herbe depicts the juxtaposition of a female nude and a scantily dressed female bather in the background, on a picnic with two fully dressed men in a rural setting. The painting sparked public notoriety and stirred up controversy and has remained controversial, even to this day. There is a discussion of it, from this point of view, in Proust's Remembrance of Things Past.One interpretation of the work is that it depicts the rampant prostitution in the Bois de Boulogne, a large park at the western outskirts of Paris, at the time. This prostitution was common knowledge in Paris, but was considered a taboo subject unsuitable for a painting.Émile Zola comments about Déjeuner sur l'herbe:The Luncheon on the Grass is the greatest work of Édouard Manet, one in which he realizes the dream of all painters: to place figures of natural grandeur in a landscape.  We know the power with which he vanquished this difficulty.  There are some leaves, some tree trunks, and, in the background, a river in which a chemise-wearing woman bathes; in the foreground, two young men are seated across from a second woman who has just exited the water and who dries her naked skin in the open air.  This nude woman has scandalized the public, who see only her in the canvas.  My God!  What indecency: a woman without the slightest covering between two clothed men!  That has never been seen.  And this belief is a gross error, for in the Louvre there are more than fifty paintings in which are found mixes of persons clothed and nude.  But no one goes to the Louvre to be scandalized.  The crowd has kept itself moreover from judging The Luncheon on the Grass like a veritable work of art should be judged; they see in it only some people who are having a picnic, finishing bathing, and they believed that the artist had placed an obscene intent in the disposition of the subject, while the artist had simply sought to obtain vibrant oppositions and a straightforward audience.  Painters, especially Édouard Manet, who is an analytic painter, do not have this preoccupation with the subject which torments the crowd above all; the subject, for them, is merely a pretext to paint, while for the crowd, the subject alone exists.  Thus, assuredly, the nude woman of The Luncheon on the Grass is only there to furnish the artist the occasion to paint a bit of flesh.  That which must be seen in the painting is not a luncheon on the grass; it is the entire landscape, with its vigors and its finesses, with its foregrounds so large, so solid, and its backgrounds of a light delicateness; it is this firm modeled flesh under great spots of light, these tissues supple and strong, and particularly this delicious silhouette of a woman wearing a chemise who makes, in the background, an adorable dapple of white in the milieu of green leaves.  It is, in short, this vast ensemble, full of atmosphere, this corner of nature rendered with a simplicity so just, all of this admirable page in which an artist has placed all the particular and rare elements which are in him.Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre (The Masterpiece) (1886).

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: Describe the characteristics of the Le déjeuner sur l'herbe in Salon des Refusés's Works in the exhibition.

Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit Déjeuner sur l'herbe and two other paintings in the 1863 Salon des Refusés. Déjeuner sur l'herbe depicts the juxtaposition of a female nude and a scantily dressed female bather in the background, on a picnic with two fully dressed men in a rural setting. The painting sparked public notoriety and stirred up controversy and has remained controversial, even to this day. There is a discussion of it, from this point of view, in Proust's Remembrance of Things Past.One interpretation of the work is that it depicts the rampant prostitution in the Bois de Boulogne, a large park at the western outskirts of Paris, at the time. This prostitution was common knowledge in Paris, but was considered a taboo subject unsuitable for a painting.Émile Zola comments about Déjeuner sur l'herbe:The Luncheon on the Grass is the greatest work of Édouard Manet, one in which he realizes the dream of all painters: to place figures of natural grandeur in a landscape.  We know the power with which he vanquished this difficulty.  There are some leaves, some tree trunks, and, in the background, a river in which a chemise-wearing woman bathes; in the foreground, two young men are seated across from a second woman who has just exited the water and who dries her naked skin in the open air.  This nude woman has scandalized the public, who see only her in the canvas.  My God!  What indecency: a woman without the slightest covering between two clothed men!  That has never been seen.  And this belief is a gross error, for in the Louvre there are more than fifty paintings in which are found mixes of persons clothed and nude.  But no one goes to the Louvre to be scandalized.  The crowd has kept itself moreover from judging The Luncheon on the Grass like a veritable work of art should be judged; they see in it only some people who are having a picnic, finishing bathing, and they believed that the artist had placed an obscene intent in the disposition of the subject, while the artist had simply sought to obtain vibrant oppositions and a straightforward audience.  Painters, especially Édouard Manet, who is an analytic painter, do not have this preoccupation with the subject which torments the crowd above all; the subject, for them, is merely a pretext to paint, while for the crowd, the subject alone exists.  Thus, assuredly, the nude woman of The Luncheon on the Grass is only there to furnish the artist the occasion to paint a bit of flesh.  That which must be seen in the painting is not a luncheon on the grass; it is the entire landscape, with its vigors and its finesses, with its foregrounds so large, so solid, and its backgrounds of a light delicateness; it is this firm modeled flesh under great spots of light, these tissues supple and strong, and particularly this delicious silhouette of a woman wearing a chemise who makes, in the background, an adorable dapple of white in the milieu of green leaves.  It is, in short, this vast ensemble, full of atmosphere, this corner of nature rendered with a simplicity so just, all of this admirable page in which an artist has placed all the particular and rare elements which are in him.Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre (The Masterpiece) (1886).

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: In the context of Salon des Refusés, explain the Symphony in White no 1 and the Works in the exhibition.

In 1861, after returning to Paris for a time, James Abbott McNeill Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. This portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug (interpreted by some to represent masculinity and lust) with the wolf's head staring menacingly at the viewer.Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.Whistler started working on The White Girl shortly after December 3, 1861, with the intention of submitting it to the prestigious annual exhibition of the Royal Academy. In spite of bouts of illness, he finished the painting by April. The white paint Whistler used contained lead, and his work on the seven-foot-high canvas had given the artist a dose of lead poisoning. The portrait was refused for exhibition at the conservative Royal Academy in London.  Whistler then submitted the painting to the Paris Salon of 1863, where it was also rejected. The public was able to see the painting exhibited with other rejected works, in the Salon des Refusés.  The Salon des Refusés was an event sanctioned by Emperor Napoleon III, to appease the large number of artists who joined forces to protest the harsh jury decisions in 1863 Of the over 5,000 paintings submitted in 1863, 2,217 were rejected.  In a letter to George du Maurier in early 1862 Whistler wrote of the painting:... a woman in a beautiful white cambric dress, standing against a window which filters the light through a transparent white muslin curtain – but the figure receives a strong light from the right and therefore the picture, barring the red hair, is one gorgeous mass of brilliant white.Whistler submitted the painting to the Academy, but according to Joanna Hiffernan, he expected it to be rejected. The previous year, in 1861, another painting had caused a minor scandal. Edwin Henry Landseer's The Shrew Tamed showed a horse with a woman resting on the ground nearby. The model was named as Ann Gilbert, a noted equestrienne of the period, however it was soon rumored that it was actually Catherine Walters, the notorious London courtesan. Whistler's painting was reminiscent enough of Landseer's that the judges were wary of admitting it. White Girl was submitted to the Academy along with three etchings, all three of which were accepted, while the painting was not. Whistler exhibited it at the small Berners Street Gallery in London instead. The next year, Whistler tried to have the painting exhibited at the Salon in Paris – the official art exhibition of the Académie des Beaux-Arts – but it was rejected there as well. Instead, it was accepted at the alternative Salon des Refusés – the "exhibition of rejects" that opened on May 15, two weeks after the official Salon.Although Whistler's painting was widely noticed, he was upstaged by Manet's more shocking painting Le déjeuner sur l'herbe. The controversy surrounding the paintings was described in Émile Zola's novel L'Œuvre (1886). The reception Whistler's painting received was mostly favourable, however, and largely vindicated him after the rejection he had experienced both in London and in Paris. The painting was greatly admired by his colleagues and friends Manet, the painter Gustave Courbet and the poet Charles Baudelaire. The art critic Théophile Thoré-Bürger saw it in the tradition of Goya and Velázquez. There were, however, those who were less favourable; certain French critics saw the English Pre-Raphaelite trend as somewhat eccentric.

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: Explain the Symphony in White no 1 about the Works in the exhibition of this artwork, Salon des Refusés.

In 1861, after returning to Paris for a time, James Abbott McNeill Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. This portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug (interpreted by some to represent masculinity and lust) with the wolf's head staring menacingly at the viewer.Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.Whistler started working on The White Girl shortly after December 3, 1861, with the intention of submitting it to the prestigious annual exhibition of the Royal Academy. In spite of bouts of illness, he finished the painting by April. The white paint Whistler used contained lead, and his work on the seven-foot-high canvas had given the artist a dose of lead poisoning. The portrait was refused for exhibition at the conservative Royal Academy in London.  Whistler then submitted the painting to the Paris Salon of 1863, where it was also rejected. The public was able to see the painting exhibited with other rejected works, in the Salon des Refusés.  The Salon des Refusés was an event sanctioned by Emperor Napoleon III, to appease the large number of artists who joined forces to protest the harsh jury decisions in 1863 Of the over 5,000 paintings submitted in 1863, 2,217 were rejected.  In a letter to George du Maurier in early 1862 Whistler wrote of the painting:... a woman in a beautiful white cambric dress, standing against a window which filters the light through a transparent white muslin curtain – but the figure receives a strong light from the right and therefore the picture, barring the red hair, is one gorgeous mass of brilliant white.Whistler submitted the painting to the Academy, but according to Joanna Hiffernan, he expected it to be rejected. The previous year, in 1861, another painting had caused a minor scandal. Edwin Henry Landseer's The Shrew Tamed showed a horse with a woman resting on the ground nearby. The model was named as Ann Gilbert, a noted equestrienne of the period, however it was soon rumored that it was actually Catherine Walters, the notorious London courtesan. Whistler's painting was reminiscent enough of Landseer's that the judges were wary of admitting it. White Girl was submitted to the Academy along with three etchings, all three of which were accepted, while the painting was not. Whistler exhibited it at the small Berners Street Gallery in London instead. The next year, Whistler tried to have the painting exhibited at the Salon in Paris – the official art exhibition of the Académie des Beaux-Arts – but it was rejected there as well. Instead, it was accepted at the alternative Salon des Refusés – the "exhibition of rejects" that opened on May 15, two weeks after the official Salon.Although Whistler's painting was widely noticed, he was upstaged by Manet's more shocking painting Le déjeuner sur l'herbe. The controversy surrounding the paintings was described in Émile Zola's novel L'Œuvre (1886). The reception Whistler's painting received was mostly favourable, however, and largely vindicated him after the rejection he had experienced both in London and in Paris. The painting was greatly admired by his colleagues and friends Manet, the painter Gustave Courbet and the poet Charles Baudelaire. The art critic Théophile Thoré-Bürger saw it in the tradition of Goya and Velázquez. There were, however, those who were less favourable; certain French critics saw the English Pre-Raphaelite trend as somewhat eccentric.

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: In Salon des Refusés, how is the Symphony in White no 1 of the Works in the exhibition explained?

In 1861, after returning to Paris for a time, James Abbott McNeill Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. This portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug (interpreted by some to represent masculinity and lust) with the wolf's head staring menacingly at the viewer.Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.Whistler started working on The White Girl shortly after December 3, 1861, with the intention of submitting it to the prestigious annual exhibition of the Royal Academy. In spite of bouts of illness, he finished the painting by April. The white paint Whistler used contained lead, and his work on the seven-foot-high canvas had given the artist a dose of lead poisoning. The portrait was refused for exhibition at the conservative Royal Academy in London.  Whistler then submitted the painting to the Paris Salon of 1863, where it was also rejected. The public was able to see the painting exhibited with other rejected works, in the Salon des Refusés.  The Salon des Refusés was an event sanctioned by Emperor Napoleon III, to appease the large number of artists who joined forces to protest the harsh jury decisions in 1863 Of the over 5,000 paintings submitted in 1863, 2,217 were rejected.  In a letter to George du Maurier in early 1862 Whistler wrote of the painting:... a woman in a beautiful white cambric dress, standing against a window which filters the light through a transparent white muslin curtain – but the figure receives a strong light from the right and therefore the picture, barring the red hair, is one gorgeous mass of brilliant white.Whistler submitted the painting to the Academy, but according to Joanna Hiffernan, he expected it to be rejected. The previous year, in 1861, another painting had caused a minor scandal. Edwin Henry Landseer's The Shrew Tamed showed a horse with a woman resting on the ground nearby. The model was named as Ann Gilbert, a noted equestrienne of the period, however it was soon rumored that it was actually Catherine Walters, the notorious London courtesan. Whistler's painting was reminiscent enough of Landseer's that the judges were wary of admitting it. White Girl was submitted to the Academy along with three etchings, all three of which were accepted, while the painting was not. Whistler exhibited it at the small Berners Street Gallery in London instead. The next year, Whistler tried to have the painting exhibited at the Salon in Paris – the official art exhibition of the Académie des Beaux-Arts – but it was rejected there as well. Instead, it was accepted at the alternative Salon des Refusés – the "exhibition of rejects" that opened on May 15, two weeks after the official Salon.Although Whistler's painting was widely noticed, he was upstaged by Manet's more shocking painting Le déjeuner sur l'herbe. The controversy surrounding the paintings was described in Émile Zola's novel L'Œuvre (1886). The reception Whistler's painting received was mostly favourable, however, and largely vindicated him after the rejection he had experienced both in London and in Paris. The painting was greatly admired by his colleagues and friends Manet, the painter Gustave Courbet and the poet Charles Baudelaire. The art critic Théophile Thoré-Bürger saw it in the tradition of Goya and Velázquez. There were, however, those who were less favourable; certain French critics saw the English Pre-Raphaelite trend as somewhat eccentric.

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: Describe the characteristics of the Symphony in White no 1 in Salon des Refusés's Works in the exhibition.

In 1861, after returning to Paris for a time, James Abbott McNeill Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. This portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug (interpreted by some to represent masculinity and lust) with the wolf's head staring menacingly at the viewer.Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.Whistler started working on The White Girl shortly after December 3, 1861, with the intention of submitting it to the prestigious annual exhibition of the Royal Academy. In spite of bouts of illness, he finished the painting by April. The white paint Whistler used contained lead, and his work on the seven-foot-high canvas had given the artist a dose of lead poisoning. The portrait was refused for exhibition at the conservative Royal Academy in London.  Whistler then submitted the painting to the Paris Salon of 1863, where it was also rejected. The public was able to see the painting exhibited with other rejected works, in the Salon des Refusés.  The Salon des Refusés was an event sanctioned by Emperor Napoleon III, to appease the large number of artists who joined forces to protest the harsh jury decisions in 1863 Of the over 5,000 paintings submitted in 1863, 2,217 were rejected.  In a letter to George du Maurier in early 1862 Whistler wrote of the painting:... a woman in a beautiful white cambric dress, standing against a window which filters the light through a transparent white muslin curtain – but the figure receives a strong light from the right and therefore the picture, barring the red hair, is one gorgeous mass of brilliant white.Whistler submitted the painting to the Academy, but according to Joanna Hiffernan, he expected it to be rejected. The previous year, in 1861, another painting had caused a minor scandal. Edwin Henry Landseer's The Shrew Tamed showed a horse with a woman resting on the ground nearby. The model was named as Ann Gilbert, a noted equestrienne of the period, however it was soon rumored that it was actually Catherine Walters, the notorious London courtesan. Whistler's painting was reminiscent enough of Landseer's that the judges were wary of admitting it. White Girl was submitted to the Academy along with three etchings, all three of which were accepted, while the painting was not. Whistler exhibited it at the small Berners Street Gallery in London instead. The next year, Whistler tried to have the painting exhibited at the Salon in Paris – the official art exhibition of the Académie des Beaux-Arts – but it was rejected there as well. Instead, it was accepted at the alternative Salon des Refusés – the "exhibition of rejects" that opened on May 15, two weeks after the official Salon.Although Whistler's painting was widely noticed, he was upstaged by Manet's more shocking painting Le déjeuner sur l'herbe. The controversy surrounding the paintings was described in Émile Zola's novel L'Œuvre (1886). The reception Whistler's painting received was mostly favourable, however, and largely vindicated him after the rejection he had experienced both in London and in Paris. The painting was greatly admired by his colleagues and friends Manet, the painter Gustave Courbet and the poet Charles Baudelaire. The art critic Théophile Thoré-Bürger saw it in the tradition of Goya and Velázquez. There were, however, those who were less favourable; certain French critics saw the English Pre-Raphaelite trend as somewhat eccentric.

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: Focus on Salon des Refusés and explain the Legacy.

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system (much like a multi-party system) subject to the review of the general jury of the public."

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: Explain the Legacy of this artwork, Salon des Refusés.

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system (much like a multi-party system) subject to the review of the general jury of the public."

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: How does Salon des Refusés explain its Legacy?

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system (much like a multi-party system) subject to the review of the general jury of the public."

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: In Salon des Refusés, how is the Legacy discussed?

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system (much like a multi-party system) subject to the review of the general jury of the public."

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg


Sunset at Montmajour

Prompt: Focus on Sunset at Montmajour and explain the abstract.

Sunset at Montmajour is a landscape in oils painted by the Dutch artist Vincent van Gogh on 4 July 1888. It was painted while the artist was at Arles, France and depicts a landscape of garrigue with the ruins of Montmajour Abbey in the background. The painting is 73.3 cm × 93.3 cm (28.9 in × 36.7 in). For over 100 years, it was in a Norwegian industrialist's private collection and wrongly assumed to be fake, before being re-examined, authenticated and sold to its current private owner. The painting was temporarily on display from 24 September 2013 until 12 January 2014 as part of an exhibition at the Van Gogh Museum in Amsterdam.Its authenticity was questioned several times before it was confirmed as a genuine van Gogh work in 2013. It is the first full-sized painting by Van Gogh to be newly confirmed since 1928.

Category:Paintings of Arles by Vincent van Gogh


Sunset at Montmajour

Prompt: Explain the abstract of this artwork, Sunset at Montmajour.

Sunset at Montmajour is a landscape in oils painted by the Dutch artist Vincent van Gogh on 4 July 1888. It was painted while the artist was at Arles, France and depicts a landscape of garrigue with the ruins of Montmajour Abbey in the background. The painting is 73.3 cm × 93.3 cm (28.9 in × 36.7 in). For over 100 years, it was in a Norwegian industrialist's private collection and wrongly assumed to be fake, before being re-examined, authenticated and sold to its current private owner. The painting was temporarily on display from 24 September 2013 until 12 January 2014 as part of an exhibition at the Van Gogh Museum in Amsterdam.Its authenticity was questioned several times before it was confirmed as a genuine van Gogh work in 2013. It is the first full-sized painting by Van Gogh to be newly confirmed since 1928.

Category:Paintings of Arles by Vincent van Gogh


Sunset at Montmajour

Prompt: How does Sunset at Montmajour explain its abstract?

Sunset at Montmajour is a landscape in oils painted by the Dutch artist Vincent van Gogh on 4 July 1888. It was painted while the artist was at Arles, France and depicts a landscape of garrigue with the ruins of Montmajour Abbey in the background. The painting is 73.3 cm × 93.3 cm (28.9 in × 36.7 in). For over 100 years, it was in a Norwegian industrialist's private collection and wrongly assumed to be fake, before being re-examined, authenticated and sold to its current private owner. The painting was temporarily on display from 24 September 2013 until 12 January 2014 as part of an exhibition at the Van Gogh Museum in Amsterdam.Its authenticity was questioned several times before it was confirmed as a genuine van Gogh work in 2013. It is the first full-sized painting by Van Gogh to be newly confirmed since 1928.

Category:Paintings of Arles by Vincent van Gogh


Sunset at Montmajour

Prompt: In Sunset at Montmajour, how is the abstract discussed?

Sunset at Montmajour is a landscape in oils painted by the Dutch artist Vincent van Gogh on 4 July 1888. It was painted while the artist was at Arles, France and depicts a landscape of garrigue with the ruins of Montmajour Abbey in the background. The painting is 73.3 cm × 93.3 cm (28.9 in × 36.7 in). For over 100 years, it was in a Norwegian industrialist's private collection and wrongly assumed to be fake, before being re-examined, authenticated and sold to its current private owner. The painting was temporarily on display from 24 September 2013 until 12 January 2014 as part of an exhibition at the Van Gogh Museum in Amsterdam.Its authenticity was questioned several times before it was confirmed as a genuine van Gogh work in 2013. It is the first full-sized painting by Van Gogh to be newly confirmed since 1928.

Category:Paintings of Arles by Vincent van Gogh


Sunset at Montmajour

Prompt: Focus on Sunset at Montmajour and explain the History.

The painting was inventoried among Theo van Gogh's collection of his brother's works in 1890. It was sold in 1901 by his widow, Johanna van Gogh-Bonger, to a Paris art dealer. In 1908, the art dealer sold it to Christian Nicolai Mustad.In 1908 a Norwegian industrialist, Christian Nicolai Mustad, who believed it to be the work of van Gogh, purchased and displayed the painting at his home. According to Mustad's family, the French ambassador to Sweden, while a guest at Mustad's home, advised that it probably was not by van Gogh. At that time Mustad took it down from display. The painting remained stored in his attic until Mustad's death, when it reappeared as part of his estate.

Category:Paintings of Arles by Vincent van Gogh


Sunset at Montmajour

Prompt: Explain the History of this artwork, Sunset at Montmajour.

The painting was inventoried among Theo van Gogh's collection of his brother's works in 1890. It was sold in 1901 by his widow, Johanna van Gogh-Bonger, to a Paris art dealer. In 1908, the art dealer sold it to Christian Nicolai Mustad.In 1908 a Norwegian industrialist, Christian Nicolai Mustad, who believed it to be the work of van Gogh, purchased and displayed the painting at his home. According to Mustad's family, the French ambassador to Sweden, while a guest at Mustad's home, advised that it probably was not by van Gogh. At that time Mustad took it down from display. The painting remained stored in his attic until Mustad's death, when it reappeared as part of his estate.

Category:Paintings of Arles by Vincent van Gogh


Sunset at Montmajour

Prompt: How does Sunset at Montmajour explain its History?

The painting was inventoried among Theo van Gogh's collection of his brother's works in 1890. It was sold in 1901 by his widow, Johanna van Gogh-Bonger, to a Paris art dealer. In 1908, the art dealer sold it to Christian Nicolai Mustad.In 1908 a Norwegian industrialist, Christian Nicolai Mustad, who believed it to be the work of van Gogh, purchased and displayed the painting at his home. According to Mustad's family, the French ambassador to Sweden, while a guest at Mustad's home, advised that it probably was not by van Gogh. At that time Mustad took it down from display. The painting remained stored in his attic until Mustad's death, when it reappeared as part of his estate.

Category:Paintings of Arles by Vincent van Gogh


Sunset at Montmajour

Prompt: In Sunset at Montmajour, how is the History discussed?

The painting was inventoried among Theo van Gogh's collection of his brother's works in 1890. It was sold in 1901 by his widow, Johanna van Gogh-Bonger, to a Paris art dealer. In 1908, the art dealer sold it to Christian Nicolai Mustad.In 1908 a Norwegian industrialist, Christian Nicolai Mustad, who believed it to be the work of van Gogh, purchased and displayed the painting at his home. According to Mustad's family, the French ambassador to Sweden, while a guest at Mustad's home, advised that it probably was not by van Gogh. At that time Mustad took it down from display. The painting remained stored in his attic until Mustad's death, when it reappeared as part of his estate.

Category:Paintings of Arles by Vincent van Gogh


Sunset at Montmajour

Prompt: Focus on Sunset at Montmajour and explain the Authentication.

In the 1990s, the painting was shown to staff at the Van Gogh Museum, but it was dismissed as not the work of van Gogh because it was not signed. With the development of improved investigative techniques, however, in 2011 a two-year investigation was launched by the Van Gogh Museum to examine the possible authenticity of the painting. The painting was subjected to a detailed investigation of style and materials. It was discovered to have been painted in the same range of paints that appears in works by van Gogh at that period, which led to further research. Among the evidence that confirmed the painting's authenticity was a letter written by Vincent van Gogh to his brother Theo on 5 July 1888, describing a landscape that he had painted the previous day: "Yesterday, at sunset, I was on a stony heath where very small, twisted oaks grow, in the background a ruin on the hill, and wheatfields in the valley. It was romantic, it couldn’t be more so, à la Monticelli, the sun was pouring its very yellow rays over the bushes and the ground, absolutely a shower of gold. And all the lines were beautiful, the whole scene had a charming nobility. You wouldn’t have been at all surprised to see knights and ladies suddenly appear, returning from hunting with hawks, or to hear the voice of an old Provençal troubadour. The fields seemed purple, the distances blue.  And I brought back a study of it too, but it was well below what I’d wished to do."On 9 September 2013, the Van Gogh Museum announced in a public unveiling of the painting, that the work had been confirmed as a painting by van Gogh.

Category:Paintings of Arles by Vincent van Gogh


Sunset at Montmajour

Prompt: Explain the Authentication of this artwork, Sunset at Montmajour.

In the 1990s, the painting was shown to staff at the Van Gogh Museum, but it was dismissed as not the work of van Gogh because it was not signed. With the development of improved investigative techniques, however, in 2011 a two-year investigation was launched by the Van Gogh Museum to examine the possible authenticity of the painting. The painting was subjected to a detailed investigation of style and materials. It was discovered to have been painted in the same range of paints that appears in works by van Gogh at that period, which led to further research. Among the evidence that confirmed the painting's authenticity was a letter written by Vincent van Gogh to his brother Theo on 5 July 1888, describing a landscape that he had painted the previous day: "Yesterday, at sunset, I was on a stony heath where very small, twisted oaks grow, in the background a ruin on the hill, and wheatfields in the valley. It was romantic, it couldn’t be more so, à la Monticelli, the sun was pouring its very yellow rays over the bushes and the ground, absolutely a shower of gold. And all the lines were beautiful, the whole scene had a charming nobility. You wouldn’t have been at all surprised to see knights and ladies suddenly appear, returning from hunting with hawks, or to hear the voice of an old Provençal troubadour. The fields seemed purple, the distances blue.  And I brought back a study of it too, but it was well below what I’d wished to do."On 9 September 2013, the Van Gogh Museum announced in a public unveiling of the painting, that the work had been confirmed as a painting by van Gogh.

Category:Paintings of Arles by Vincent van Gogh


Sunset at Montmajour

Prompt: How does Sunset at Montmajour explain its Authentication?

In the 1990s, the painting was shown to staff at the Van Gogh Museum, but it was dismissed as not the work of van Gogh because it was not signed. With the development of improved investigative techniques, however, in 2011 a two-year investigation was launched by the Van Gogh Museum to examine the possible authenticity of the painting. The painting was subjected to a detailed investigation of style and materials. It was discovered to have been painted in the same range of paints that appears in works by van Gogh at that period, which led to further research. Among the evidence that confirmed the painting's authenticity was a letter written by Vincent van Gogh to his brother Theo on 5 July 1888, describing a landscape that he had painted the previous day: "Yesterday, at sunset, I was on a stony heath where very small, twisted oaks grow, in the background a ruin on the hill, and wheatfields in the valley. It was romantic, it couldn’t be more so, à la Monticelli, the sun was pouring its very yellow rays over the bushes and the ground, absolutely a shower of gold. And all the lines were beautiful, the whole scene had a charming nobility. You wouldn’t have been at all surprised to see knights and ladies suddenly appear, returning from hunting with hawks, or to hear the voice of an old Provençal troubadour. The fields seemed purple, the distances blue.  And I brought back a study of it too, but it was well below what I’d wished to do."On 9 September 2013, the Van Gogh Museum announced in a public unveiling of the painting, that the work had been confirmed as a painting by van Gogh.

Category:Paintings of Arles by Vincent van Gogh


Sunset at Montmajour

Prompt: In Sunset at Montmajour, how is the Authentication discussed?

In the 1990s, the painting was shown to staff at the Van Gogh Museum, but it was dismissed as not the work of van Gogh because it was not signed. With the development of improved investigative techniques, however, in 2011 a two-year investigation was launched by the Van Gogh Museum to examine the possible authenticity of the painting. The painting was subjected to a detailed investigation of style and materials. It was discovered to have been painted in the same range of paints that appears in works by van Gogh at that period, which led to further research. Among the evidence that confirmed the painting's authenticity was a letter written by Vincent van Gogh to his brother Theo on 5 July 1888, describing a landscape that he had painted the previous day: "Yesterday, at sunset, I was on a stony heath where very small, twisted oaks grow, in the background a ruin on the hill, and wheatfields in the valley. It was romantic, it couldn’t be more so, à la Monticelli, the sun was pouring its very yellow rays over the bushes and the ground, absolutely a shower of gold. And all the lines were beautiful, the whole scene had a charming nobility. You wouldn’t have been at all surprised to see knights and ladies suddenly appear, returning from hunting with hawks, or to hear the voice of an old Provençal troubadour. The fields seemed purple, the distances blue.  And I brought back a study of it too, but it was well below what I’d wished to do."On 9 September 2013, the Van Gogh Museum announced in a public unveiling of the painting, that the work had been confirmed as a painting by van Gogh.

Category:Paintings of Arles by Vincent van Gogh


Sunset at Montmajour

Prompt: Focus on Sunset at Montmajour and explain the Reception.

Martin Bailey praised Sunset at Montmajour as "a major addition to [van Gogh's] oeuvre."

Category:Paintings of Arles by Vincent van Gogh


Sunset at Montmajour

Prompt: Explain the Reception of this artwork, Sunset at Montmajour.

Martin Bailey praised Sunset at Montmajour as "a major addition to [van Gogh's] oeuvre."

Category:Paintings of Arles by Vincent van Gogh


Sunset at Montmajour

Prompt: How does Sunset at Montmajour explain its Reception?

Martin Bailey praised Sunset at Montmajour as "a major addition to [van Gogh's] oeuvre."

Category:Paintings of Arles by Vincent van Gogh


Sunset at Montmajour

Prompt: In Sunset at Montmajour, how is the Reception discussed?

Martin Bailey praised Sunset at Montmajour as "a major addition to [van Gogh's] oeuvre."

Category:Paintings of Arles by Vincent van Gogh


Dance at Bougival

Prompt: Focus on Dance at Bougival and explain the abstract.

Dance at Bougival (French: La danse à Bougival) is an 1883 oil-on-canvas painting by the French artist Pierre-Auguste Renoir, currently in the collection of the Museum of Fine Arts in Boston, Massachusetts, United States. Described as "one of the museum's most beloved works", it is one of three in a collection commissioned by Paul Durand-Ruel. It depicts a scene in the French village of Bougival, about 15 km from the center of Paris, a site utilized by many Impressionists besides Renoir including Claude Monet, Alfred Sisley, and Berthe Morisot.The painting depicts two dancers surrounded by a lively scene of café goers. The painting's actual subjects are disputed, but it is well known for conveying the sense that they are in motion, making the viewer feel that they are actually there. Renoir used mostly pastel colors, but included a more vibrant hue in the hats of both the subjects. The larger group of paintings to which this one belongs is described as Renoir's last foray in Impressionism, and demonstrates the development of his artistic ability from his earlier works.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: Explain the abstract of this artwork, Dance at Bougival.

Dance at Bougival (French: La danse à Bougival) is an 1883 oil-on-canvas painting by the French artist Pierre-Auguste Renoir, currently in the collection of the Museum of Fine Arts in Boston, Massachusetts, United States. Described as "one of the museum's most beloved works", it is one of three in a collection commissioned by Paul Durand-Ruel. It depicts a scene in the French village of Bougival, about 15 km from the center of Paris, a site utilized by many Impressionists besides Renoir including Claude Monet, Alfred Sisley, and Berthe Morisot.The painting depicts two dancers surrounded by a lively scene of café goers. The painting's actual subjects are disputed, but it is well known for conveying the sense that they are in motion, making the viewer feel that they are actually there. Renoir used mostly pastel colors, but included a more vibrant hue in the hats of both the subjects. The larger group of paintings to which this one belongs is described as Renoir's last foray in Impressionism, and demonstrates the development of his artistic ability from his earlier works.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: How does Dance at Bougival explain its abstract?

Dance at Bougival (French: La danse à Bougival) is an 1883 oil-on-canvas painting by the French artist Pierre-Auguste Renoir, currently in the collection of the Museum of Fine Arts in Boston, Massachusetts, United States. Described as "one of the museum's most beloved works", it is one of three in a collection commissioned by Paul Durand-Ruel. It depicts a scene in the French village of Bougival, about 15 km from the center of Paris, a site utilized by many Impressionists besides Renoir including Claude Monet, Alfred Sisley, and Berthe Morisot.The painting depicts two dancers surrounded by a lively scene of café goers. The painting's actual subjects are disputed, but it is well known for conveying the sense that they are in motion, making the viewer feel that they are actually there. Renoir used mostly pastel colors, but included a more vibrant hue in the hats of both the subjects. The larger group of paintings to which this one belongs is described as Renoir's last foray in Impressionism, and demonstrates the development of his artistic ability from his earlier works.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: In Dance at Bougival, how is the abstract discussed?

Dance at Bougival (French: La danse à Bougival) is an 1883 oil-on-canvas painting by the French artist Pierre-Auguste Renoir, currently in the collection of the Museum of Fine Arts in Boston, Massachusetts, United States. Described as "one of the museum's most beloved works", it is one of three in a collection commissioned by Paul Durand-Ruel. It depicts a scene in the French village of Bougival, about 15 km from the center of Paris, a site utilized by many Impressionists besides Renoir including Claude Monet, Alfred Sisley, and Berthe Morisot.The painting depicts two dancers surrounded by a lively scene of café goers. The painting's actual subjects are disputed, but it is well known for conveying the sense that they are in motion, making the viewer feel that they are actually there. Renoir used mostly pastel colors, but included a more vibrant hue in the hats of both the subjects. The larger group of paintings to which this one belongs is described as Renoir's last foray in Impressionism, and demonstrates the development of his artistic ability from his earlier works.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: Focus on Dance at Bougival and explain the The subjects.

There is much discussion over who modeled the painting's figures, as well those in the other Dance paintings. The prevailing opinion is that it depicts two of Renoir's friends, Suzanne Valadon and Paul Lhote. Lhote is said to have appeared in Dance in the Country as well. However, Morgan Library and Museum director Colin Bailey believes the man may have been modeled by Hippolyte-Alphonse Fournaise, who appeared in Renoir's previous painting Luncheon of the Boating Party in front of his father's restaurant.Valadon is more commonly agreed on as one of the models. Originally a trapeze artist, she became an artist's model after an injury ended her performing career; however, she is best remembered as a successful painter herself. Some historians believe Renoir's subject combines the features of Valadon and Renoir's wife, Aline Charigot. It is more generally accepted that Suzanne Valadon is the model in the Dance in the City, while Aline Charigot is the model in Dance in the Country. If this theory is true, the integration of the two models to form the woman in the Dance at Bougival ties the series together in a succinct way.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: Explain the The subjects of this artwork, Dance at Bougival.

There is much discussion over who modeled the painting's figures, as well those in the other Dance paintings. The prevailing opinion is that it depicts two of Renoir's friends, Suzanne Valadon and Paul Lhote. Lhote is said to have appeared in Dance in the Country as well. However, Morgan Library and Museum director Colin Bailey believes the man may have been modeled by Hippolyte-Alphonse Fournaise, who appeared in Renoir's previous painting Luncheon of the Boating Party in front of his father's restaurant.Valadon is more commonly agreed on as one of the models. Originally a trapeze artist, she became an artist's model after an injury ended her performing career; however, she is best remembered as a successful painter herself. Some historians believe Renoir's subject combines the features of Valadon and Renoir's wife, Aline Charigot. It is more generally accepted that Suzanne Valadon is the model in the Dance in the City, while Aline Charigot is the model in Dance in the Country. If this theory is true, the integration of the two models to form the woman in the Dance at Bougival ties the series together in a succinct way.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: How does Dance at Bougival explain its The subjects?

There is much discussion over who modeled the painting's figures, as well those in the other Dance paintings. The prevailing opinion is that it depicts two of Renoir's friends, Suzanne Valadon and Paul Lhote. Lhote is said to have appeared in Dance in the Country as well. However, Morgan Library and Museum director Colin Bailey believes the man may have been modeled by Hippolyte-Alphonse Fournaise, who appeared in Renoir's previous painting Luncheon of the Boating Party in front of his father's restaurant.Valadon is more commonly agreed on as one of the models. Originally a trapeze artist, she became an artist's model after an injury ended her performing career; however, she is best remembered as a successful painter herself. Some historians believe Renoir's subject combines the features of Valadon and Renoir's wife, Aline Charigot. It is more generally accepted that Suzanne Valadon is the model in the Dance in the City, while Aline Charigot is the model in Dance in the Country. If this theory is true, the integration of the two models to form the woman in the Dance at Bougival ties the series together in a succinct way.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: In Dance at Bougival, how is the The subjects discussed?

There is much discussion over who modeled the painting's figures, as well those in the other Dance paintings. The prevailing opinion is that it depicts two of Renoir's friends, Suzanne Valadon and Paul Lhote. Lhote is said to have appeared in Dance in the Country as well. However, Morgan Library and Museum director Colin Bailey believes the man may have been modeled by Hippolyte-Alphonse Fournaise, who appeared in Renoir's previous painting Luncheon of the Boating Party in front of his father's restaurant.Valadon is more commonly agreed on as one of the models. Originally a trapeze artist, she became an artist's model after an injury ended her performing career; however, she is best remembered as a successful painter herself. Some historians believe Renoir's subject combines the features of Valadon and Renoir's wife, Aline Charigot. It is more generally accepted that Suzanne Valadon is the model in the Dance in the City, while Aline Charigot is the model in Dance in the Country. If this theory is true, the integration of the two models to form the woman in the Dance at Bougival ties the series together in a succinct way.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: Focus on Dance at Bougival and explain the Composition and style.

The painting has had many names. Renoir first referred to it in 1883 as "La danse à la campagne." It is assumed to be a scene from the French village of Bougival, however, this fact is disputed due to a story written by Paul Lhote in which Renoir depicts an extremely similar scene, though the story takes place in Montmartre. Renoir spent the early part of his career in Italy, learning the classical tradition in art. While there, he became increasingly interested in the use of light to spotlight the humans in paintings. He experimented on various fruits and vegetables, then moved to painting bodies, using the light in the foreground and the darkness in the background to illuminate his subjects. Aspects of this approach can be seen in the Dance at Bougival. The figures in the painting are nearly life-size representations of the models, which, as Anne Distel writes, "reflect Renoir's periodic desire to produce ambitious works demonstrating his skill as a figure painter."The painting has been described as one of Renoir's first reversions to a more classical style of painting he learned copying paintings in the Louvre while maintaining the bright palette of his fellow Impressionists. The Dance at Bougival was different from the other Dance paintings, in the respect that he did very little sketching and planning before applying the paint. The two people are depicted in pastel colors, with the deep blue suit of the man contrasting the pale pink dress on the woman. Additionally, the woman's hat is the same as the one worn by the woman in Dance in the Country, continuing Renoir's theme of tying together the paintings in an effort to create a unified group. It is said by many to be one of Renoir's last moments working with an Impressionist style. In his analysis of the painting, Colin Bailey writes "If these works may be said to bring Renoir's picturing of Parisian leisure to an end, their virtuosity and sureness of touch can be explained by his decade of immersion in the genre."

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: Explain the Composition and style of this artwork, Dance at Bougival.

The painting has had many names. Renoir first referred to it in 1883 as "La danse à la campagne." It is assumed to be a scene from the French village of Bougival, however, this fact is disputed due to a story written by Paul Lhote in which Renoir depicts an extremely similar scene, though the story takes place in Montmartre. Renoir spent the early part of his career in Italy, learning the classical tradition in art. While there, he became increasingly interested in the use of light to spotlight the humans in paintings. He experimented on various fruits and vegetables, then moved to painting bodies, using the light in the foreground and the darkness in the background to illuminate his subjects. Aspects of this approach can be seen in the Dance at Bougival. The figures in the painting are nearly life-size representations of the models, which, as Anne Distel writes, "reflect Renoir's periodic desire to produce ambitious works demonstrating his skill as a figure painter."The painting has been described as one of Renoir's first reversions to a more classical style of painting he learned copying paintings in the Louvre while maintaining the bright palette of his fellow Impressionists. The Dance at Bougival was different from the other Dance paintings, in the respect that he did very little sketching and planning before applying the paint. The two people are depicted in pastel colors, with the deep blue suit of the man contrasting the pale pink dress on the woman. Additionally, the woman's hat is the same as the one worn by the woman in Dance in the Country, continuing Renoir's theme of tying together the paintings in an effort to create a unified group. It is said by many to be one of Renoir's last moments working with an Impressionist style. In his analysis of the painting, Colin Bailey writes "If these works may be said to bring Renoir's picturing of Parisian leisure to an end, their virtuosity and sureness of touch can be explained by his decade of immersion in the genre."

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: How does Dance at Bougival explain its Composition and style?

The painting has had many names. Renoir first referred to it in 1883 as "La danse à la campagne." It is assumed to be a scene from the French village of Bougival, however, this fact is disputed due to a story written by Paul Lhote in which Renoir depicts an extremely similar scene, though the story takes place in Montmartre. Renoir spent the early part of his career in Italy, learning the classical tradition in art. While there, he became increasingly interested in the use of light to spotlight the humans in paintings. He experimented on various fruits and vegetables, then moved to painting bodies, using the light in the foreground and the darkness in the background to illuminate his subjects. Aspects of this approach can be seen in the Dance at Bougival. The figures in the painting are nearly life-size representations of the models, which, as Anne Distel writes, "reflect Renoir's periodic desire to produce ambitious works demonstrating his skill as a figure painter."The painting has been described as one of Renoir's first reversions to a more classical style of painting he learned copying paintings in the Louvre while maintaining the bright palette of his fellow Impressionists. The Dance at Bougival was different from the other Dance paintings, in the respect that he did very little sketching and planning before applying the paint. The two people are depicted in pastel colors, with the deep blue suit of the man contrasting the pale pink dress on the woman. Additionally, the woman's hat is the same as the one worn by the woman in Dance in the Country, continuing Renoir's theme of tying together the paintings in an effort to create a unified group. It is said by many to be one of Renoir's last moments working with an Impressionist style. In his analysis of the painting, Colin Bailey writes "If these works may be said to bring Renoir's picturing of Parisian leisure to an end, their virtuosity and sureness of touch can be explained by his decade of immersion in the genre."

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: In Dance at Bougival, how is the Composition and style discussed?

The painting has had many names. Renoir first referred to it in 1883 as "La danse à la campagne." It is assumed to be a scene from the French village of Bougival, however, this fact is disputed due to a story written by Paul Lhote in which Renoir depicts an extremely similar scene, though the story takes place in Montmartre. Renoir spent the early part of his career in Italy, learning the classical tradition in art. While there, he became increasingly interested in the use of light to spotlight the humans in paintings. He experimented on various fruits and vegetables, then moved to painting bodies, using the light in the foreground and the darkness in the background to illuminate his subjects. Aspects of this approach can be seen in the Dance at Bougival. The figures in the painting are nearly life-size representations of the models, which, as Anne Distel writes, "reflect Renoir's periodic desire to produce ambitious works demonstrating his skill as a figure painter."The painting has been described as one of Renoir's first reversions to a more classical style of painting he learned copying paintings in the Louvre while maintaining the bright palette of his fellow Impressionists. The Dance at Bougival was different from the other Dance paintings, in the respect that he did very little sketching and planning before applying the paint. The two people are depicted in pastel colors, with the deep blue suit of the man contrasting the pale pink dress on the woman. Additionally, the woman's hat is the same as the one worn by the woman in Dance in the Country, continuing Renoir's theme of tying together the paintings in an effort to create a unified group. It is said by many to be one of Renoir's last moments working with an Impressionist style. In his analysis of the painting, Colin Bailey writes "If these works may be said to bring Renoir's picturing of Parisian leisure to an end, their virtuosity and sureness of touch can be explained by his decade of immersion in the genre."

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: Focus on Dance at Bougival and explain the The Dance paintings.

Dance at Bougival is one of three paintings produced for the art dealer Paul Durand-Ruel. The three paintings are very similar to each other, each depicting a couple dancing in a different environment. The other pieces, Dance in the City and Dance in the Country, have similar pastel coloring and a whimsical aura. The paintings were all completed between January and April 1883, described by Colin B. Bailey as, "among the most productive three months in Renoir's career." These paintings combined Renoir's early stylistic endeavors, painting outside scenes, with his work on portraits that he developed while in Italy. Anne Distel writes that the titles of the paintings are not necessarily noteworthy and that their main purpose was to distinguish between the three paintings and the places where the dances were taking place. By doing so, the viewer can understand that Renoir is depicting the same dance as it occurs in three different parts of French society. There is a formal ball depicted in Dance in the City, a country dance in Dance in the Country, and a more informal outdoor event in Dance at Bougival.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: Explain the The Dance paintings of this artwork, Dance at Bougival.

Dance at Bougival is one of three paintings produced for the art dealer Paul Durand-Ruel. The three paintings are very similar to each other, each depicting a couple dancing in a different environment. The other pieces, Dance in the City and Dance in the Country, have similar pastel coloring and a whimsical aura. The paintings were all completed between January and April 1883, described by Colin B. Bailey as, "among the most productive three months in Renoir's career." These paintings combined Renoir's early stylistic endeavors, painting outside scenes, with his work on portraits that he developed while in Italy. Anne Distel writes that the titles of the paintings are not necessarily noteworthy and that their main purpose was to distinguish between the three paintings and the places where the dances were taking place. By doing so, the viewer can understand that Renoir is depicting the same dance as it occurs in three different parts of French society. There is a formal ball depicted in Dance in the City, a country dance in Dance in the Country, and a more informal outdoor event in Dance at Bougival.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: How does Dance at Bougival explain its The Dance paintings?

Dance at Bougival is one of three paintings produced for the art dealer Paul Durand-Ruel. The three paintings are very similar to each other, each depicting a couple dancing in a different environment. The other pieces, Dance in the City and Dance in the Country, have similar pastel coloring and a whimsical aura. The paintings were all completed between January and April 1883, described by Colin B. Bailey as, "among the most productive three months in Renoir's career." These paintings combined Renoir's early stylistic endeavors, painting outside scenes, with his work on portraits that he developed while in Italy. Anne Distel writes that the titles of the paintings are not necessarily noteworthy and that their main purpose was to distinguish between the three paintings and the places where the dances were taking place. By doing so, the viewer can understand that Renoir is depicting the same dance as it occurs in three different parts of French society. There is a formal ball depicted in Dance in the City, a country dance in Dance in the Country, and a more informal outdoor event in Dance at Bougival.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: In Dance at Bougival, how is the The Dance paintings discussed?

Dance at Bougival is one of three paintings produced for the art dealer Paul Durand-Ruel. The three paintings are very similar to each other, each depicting a couple dancing in a different environment. The other pieces, Dance in the City and Dance in the Country, have similar pastel coloring and a whimsical aura. The paintings were all completed between January and April 1883, described by Colin B. Bailey as, "among the most productive three months in Renoir's career." These paintings combined Renoir's early stylistic endeavors, painting outside scenes, with his work on portraits that he developed while in Italy. Anne Distel writes that the titles of the paintings are not necessarily noteworthy and that their main purpose was to distinguish between the three paintings and the places where the dances were taking place. By doing so, the viewer can understand that Renoir is depicting the same dance as it occurs in three different parts of French society. There is a formal ball depicted in Dance in the City, a country dance in Dance in the Country, and a more informal outdoor event in Dance at Bougival.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: Focus on Dance at Bougival and explain the Exhibitions.

The painting was widely exhibited, first being shown in London soon after it was painted. At the opening of that show, for which the painting had not quite arrived in time, Colin Bailey notes, "The Academy, London's foremost art journal, lamented the absence of this 'great and audacious masterpiece.'" The painting traveled next to New York in the spring of 1886, where it was once again received with high praise. It was shown in Paris in 1892, then sold in 1894 to Félix François Depeaux who promised Paul Durand-Ruel at the time of the sale to eventually give them it to the Musée de Rouen, something that never happened due to Depeaux needing the money to finance a costly divorce.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: Explain the Exhibitions of this artwork, Dance at Bougival.

The painting was widely exhibited, first being shown in London soon after it was painted. At the opening of that show, for which the painting had not quite arrived in time, Colin Bailey notes, "The Academy, London's foremost art journal, lamented the absence of this 'great and audacious masterpiece.'" The painting traveled next to New York in the spring of 1886, where it was once again received with high praise. It was shown in Paris in 1892, then sold in 1894 to Félix François Depeaux who promised Paul Durand-Ruel at the time of the sale to eventually give them it to the Musée de Rouen, something that never happened due to Depeaux needing the money to finance a costly divorce.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: How does Dance at Bougival explain its Exhibitions?

The painting was widely exhibited, first being shown in London soon after it was painted. At the opening of that show, for which the painting had not quite arrived in time, Colin Bailey notes, "The Academy, London's foremost art journal, lamented the absence of this 'great and audacious masterpiece.'" The painting traveled next to New York in the spring of 1886, where it was once again received with high praise. It was shown in Paris in 1892, then sold in 1894 to Félix François Depeaux who promised Paul Durand-Ruel at the time of the sale to eventually give them it to the Musée de Rouen, something that never happened due to Depeaux needing the money to finance a costly divorce.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: In Dance at Bougival, how is the Exhibitions discussed?

The painting was widely exhibited, first being shown in London soon after it was painted. At the opening of that show, for which the painting had not quite arrived in time, Colin Bailey notes, "The Academy, London's foremost art journal, lamented the absence of this 'great and audacious masterpiece.'" The painting traveled next to New York in the spring of 1886, where it was once again received with high praise. It was shown in Paris in 1892, then sold in 1894 to Félix François Depeaux who promised Paul Durand-Ruel at the time of the sale to eventually give them it to the Musée de Rouen, something that never happened due to Depeaux needing the money to finance a costly divorce.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: Focus on Dance at Bougival and explain the Ownership.

Paul Durand-Ruel1894 sold to François Depeaux1906 Edmond Decap (Depeaux's brother-in-law)Maurice Barret-Décap1937, Barret-Décap sell it, by Anthony H. Manley, Paris to artdealers Paul Brame (b. 1898 - d. 1971) and César Mange de Hauke, Paris, for Jacques Seligmann et Fils, Paris.1937, transferred to New York and sold to the Boston Museum of Fine Arts .

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: Explain the Ownership of this artwork, Dance at Bougival.

Paul Durand-Ruel1894 sold to François Depeaux1906 Edmond Decap (Depeaux's brother-in-law)Maurice Barret-Décap1937, Barret-Décap sell it, by Anthony H. Manley, Paris to artdealers Paul Brame (b. 1898 - d. 1971) and César Mange de Hauke, Paris, for Jacques Seligmann et Fils, Paris.1937, transferred to New York and sold to the Boston Museum of Fine Arts .

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: How does Dance at Bougival explain its Ownership?

Paul Durand-Ruel1894 sold to François Depeaux1906 Edmond Decap (Depeaux's brother-in-law)Maurice Barret-Décap1937, Barret-Décap sell it, by Anthony H. Manley, Paris to artdealers Paul Brame (b. 1898 - d. 1971) and César Mange de Hauke, Paris, for Jacques Seligmann et Fils, Paris.1937, transferred to New York and sold to the Boston Museum of Fine Arts .

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: In Dance at Bougival, how is the Ownership discussed?

Paul Durand-Ruel1894 sold to François Depeaux1906 Edmond Decap (Depeaux's brother-in-law)Maurice Barret-Décap1937, Barret-Décap sell it, by Anthony H. Manley, Paris to artdealers Paul Brame (b. 1898 - d. 1971) and César Mange de Hauke, Paris, for Jacques Seligmann et Fils, Paris.1937, transferred to New York and sold to the Boston Museum of Fine Arts .

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: Focus on Dance at Bougival and explain the X-Ray analysis.

Analysis has been done on the painting in recent years in an effort to understand how Renoir created this work and where he might have changed his mind along the way. This analysis has shown that the original depiction of the woman in the painting was much different from what Renoir finally settled upon. Notably, she wore a different hat from the one in the final painting and looked much more similar to the woman in the Dance in the Country painting, said to have been modeled by Aline Charigot, Renoir's wife. In a letter Renoir wrote to the Bernheim brothers, he also said that "I had originally painted my dancer with a white jacket. I changed my mind and painted it blue. I should have waited a month before making this change." The analysis of these changes made by Renoir would not be possible without technological advancements that allow art historians to better understand the context in which artists worked. It is interesting to note the apparent change in model, and Renoir's regret at changing the color of the jacket provide further evidence for the fact that Renoir did not spend a significant amount of time planning for this work.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: Explain the X-Ray analysis of this artwork, Dance at Bougival.

Analysis has been done on the painting in recent years in an effort to understand how Renoir created this work and where he might have changed his mind along the way. This analysis has shown that the original depiction of the woman in the painting was much different from what Renoir finally settled upon. Notably, she wore a different hat from the one in the final painting and looked much more similar to the woman in the Dance in the Country painting, said to have been modeled by Aline Charigot, Renoir's wife. In a letter Renoir wrote to the Bernheim brothers, he also said that "I had originally painted my dancer with a white jacket. I changed my mind and painted it blue. I should have waited a month before making this change." The analysis of these changes made by Renoir would not be possible without technological advancements that allow art historians to better understand the context in which artists worked. It is interesting to note the apparent change in model, and Renoir's regret at changing the color of the jacket provide further evidence for the fact that Renoir did not spend a significant amount of time planning for this work.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: How does Dance at Bougival explain its X-Ray analysis?

Analysis has been done on the painting in recent years in an effort to understand how Renoir created this work and where he might have changed his mind along the way. This analysis has shown that the original depiction of the woman in the painting was much different from what Renoir finally settled upon. Notably, she wore a different hat from the one in the final painting and looked much more similar to the woman in the Dance in the Country painting, said to have been modeled by Aline Charigot, Renoir's wife. In a letter Renoir wrote to the Bernheim brothers, he also said that "I had originally painted my dancer with a white jacket. I changed my mind and painted it blue. I should have waited a month before making this change." The analysis of these changes made by Renoir would not be possible without technological advancements that allow art historians to better understand the context in which artists worked. It is interesting to note the apparent change in model, and Renoir's regret at changing the color of the jacket provide further evidence for the fact that Renoir did not spend a significant amount of time planning for this work.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Dance at Bougival

Prompt: In Dance at Bougival, how is the X-Ray analysis discussed?

Analysis has been done on the painting in recent years in an effort to understand how Renoir created this work and where he might have changed his mind along the way. This analysis has shown that the original depiction of the woman in the painting was much different from what Renoir finally settled upon. Notably, she wore a different hat from the one in the final painting and looked much more similar to the woman in the Dance in the Country painting, said to have been modeled by Aline Charigot, Renoir's wife. In a letter Renoir wrote to the Bernheim brothers, he also said that "I had originally painted my dancer with a white jacket. I changed my mind and painted it blue. I should have waited a month before making this change." The analysis of these changes made by Renoir would not be possible without technological advancements that allow art historians to better understand the context in which artists worked. It is interesting to note the apparent change in model, and Renoir's regret at changing the color of the jacket provide further evidence for the fact that Renoir did not spend a significant amount of time planning for this work.

Category:Paintings by Pierre-Auguste Renoir

Category:Paintings in the Museum of Fine Arts, Boston

List of paintings by Pierre-Auguste Renoir


Mond Crucifixion

Prompt: Focus on Mond Crucifixion and explain the abstract.

The Mond Crucifixion or Gavari Altarpiece is an oil on poplar panel dated to 1502–1503, making it one of the earliest works by Italian Renaissance artist Raphael, perhaps the second after the c.1499-1500 Baronci Altarpiece.  It originally comprised four elements, of which three survive, now all separated: a main panel of the Crucified Christ with the Virgin Mary, Saints and Angels which was bequeathed to the National Gallery, London, by Ludwig Mond, and a three-panel predella from which one panel is lost; the two surviving panels are Eusebius of Cremona raising Three Men from the Dead with Saint Jerome's Cloak in the Museu Nacional de Arte Antiga, in Lisbon, and Saint Jerome saving Silvanus and punishing the Heretic Sabinianus in the North Carolina Museum of Art.

Category:Paintings of the Crucifixion of Jesus

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery, London

File:Perugino, pala di monteripido, recto.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings in the National Museum of Ancient Art


Mond Crucifixion

Prompt: Explain the abstract of this artwork, Mond Crucifixion.

The Mond Crucifixion or Gavari Altarpiece is an oil on poplar panel dated to 1502–1503, making it one of the earliest works by Italian Renaissance artist Raphael, perhaps the second after the c.1499-1500 Baronci Altarpiece.  It originally comprised four elements, of which three survive, now all separated: a main panel of the Crucified Christ with the Virgin Mary, Saints and Angels which was bequeathed to the National Gallery, London, by Ludwig Mond, and a three-panel predella from which one panel is lost; the two surviving panels are Eusebius of Cremona raising Three Men from the Dead with Saint Jerome's Cloak in the Museu Nacional de Arte Antiga, in Lisbon, and Saint Jerome saving Silvanus and punishing the Heretic Sabinianus in the North Carolina Museum of Art.

Category:Paintings of the Crucifixion of Jesus

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery, London

File:Perugino, pala di monteripido, recto.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings in the National Museum of Ancient Art


Mond Crucifixion

Prompt: How does Mond Crucifixion explain its abstract?

The Mond Crucifixion or Gavari Altarpiece is an oil on poplar panel dated to 1502–1503, making it one of the earliest works by Italian Renaissance artist Raphael, perhaps the second after the c.1499-1500 Baronci Altarpiece.  It originally comprised four elements, of which three survive, now all separated: a main panel of the Crucified Christ with the Virgin Mary, Saints and Angels which was bequeathed to the National Gallery, London, by Ludwig Mond, and a three-panel predella from which one panel is lost; the two surviving panels are Eusebius of Cremona raising Three Men from the Dead with Saint Jerome's Cloak in the Museu Nacional de Arte Antiga, in Lisbon, and Saint Jerome saving Silvanus and punishing the Heretic Sabinianus in the North Carolina Museum of Art.

Category:Paintings of the Crucifixion of Jesus

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery, London

File:Perugino, pala di monteripido, recto.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings in the National Museum of Ancient Art


Mond Crucifixion

Prompt: In Mond Crucifixion, how is the abstract discussed?

The Mond Crucifixion or Gavari Altarpiece is an oil on poplar panel dated to 1502–1503, making it one of the earliest works by Italian Renaissance artist Raphael, perhaps the second after the c.1499-1500 Baronci Altarpiece.  It originally comprised four elements, of which three survive, now all separated: a main panel of the Crucified Christ with the Virgin Mary, Saints and Angels which was bequeathed to the National Gallery, London, by Ludwig Mond, and a three-panel predella from which one panel is lost; the two surviving panels are Eusebius of Cremona raising Three Men from the Dead with Saint Jerome's Cloak in the Museu Nacional de Arte Antiga, in Lisbon, and Saint Jerome saving Silvanus and punishing the Heretic Sabinianus in the North Carolina Museum of Art.

Category:Paintings of the Crucifixion of Jesus

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery, London

File:Perugino, pala di monteripido, recto.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings in the National Museum of Ancient Art


Mond Crucifixion

Prompt: Focus on Mond Crucifixion and explain the Background.

This early work by Raphael was commissioned by the wool merchant Domenico Gavari as the altarpiece for his burial chapel in the south aisle of the church of San Domenico in Città di Castello, in Umbria, near Raphael's home town of Urbino.  The side chapel was dedicated to Saint Jerome, where most of the painting's original pietra serena stone frame survives including the inscribed date 1503.  Gavari was an associate of Andrea Baronci, for whom Raphael had already made the Baronci Altarpiece.  Gavari's first son Girolamo (Jerome) died young.

Category:Paintings of the Crucifixion of Jesus

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery, London

File:Perugino, pala di monteripido, recto.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings in the National Museum of Ancient Art


Mond Crucifixion

Prompt: Explain the Background of this artwork, Mond Crucifixion.

This early work by Raphael was commissioned by the wool merchant Domenico Gavari as the altarpiece for his burial chapel in the south aisle of the church of San Domenico in Città di Castello, in Umbria, near Raphael's home town of Urbino.  The side chapel was dedicated to Saint Jerome, where most of the painting's original pietra serena stone frame survives including the inscribed date 1503.  Gavari was an associate of Andrea Baronci, for whom Raphael had already made the Baronci Altarpiece.  Gavari's first son Girolamo (Jerome) died young.

Category:Paintings of the Crucifixion of Jesus

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery, London

File:Perugino, pala di monteripido, recto.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings in the National Museum of Ancient Art


Mond Crucifixion

Prompt: How does Mond Crucifixion explain its Background?

This early work by Raphael was commissioned by the wool merchant Domenico Gavari as the altarpiece for his burial chapel in the south aisle of the church of San Domenico in Città di Castello, in Umbria, near Raphael's home town of Urbino.  The side chapel was dedicated to Saint Jerome, where most of the painting's original pietra serena stone frame survives including the inscribed date 1503.  Gavari was an associate of Andrea Baronci, for whom Raphael had already made the Baronci Altarpiece.  Gavari's first son Girolamo (Jerome) died young.

Category:Paintings of the Crucifixion of Jesus

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery, London

File:Perugino, pala di monteripido, recto.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings in the National Museum of Ancient Art


Mond Crucifixion

Prompt: In Mond Crucifixion, how is the Background discussed?

This early work by Raphael was commissioned by the wool merchant Domenico Gavari as the altarpiece for his burial chapel in the south aisle of the church of San Domenico in Città di Castello, in Umbria, near Raphael's home town of Urbino.  The side chapel was dedicated to Saint Jerome, where most of the painting's original pietra serena stone frame survives including the inscribed date 1503.  Gavari was an associate of Andrea Baronci, for whom Raphael had already made the Baronci Altarpiece.  Gavari's first son Girolamo (Jerome) died young.

Category:Paintings of the Crucifixion of Jesus

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery, London

File:Perugino, pala di monteripido, recto.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings in the National Museum of Ancient Art


Mond Crucifixion

Prompt: Focus on Mond Crucifixion and explain the Main panel.

The main panel portrays the Crucifixion of Jesus, against a background of hills in the Umbrian countryside, with a view of Città di Castello in the distance.  Jesus looks peaceful even as he is dying on the cross, crowned with thorns and clad only in a loincloth that has an unusual red colour.  Above, a sun in gold leaf and moon in silver leaf appear together in the sky.  Two angels with flowing robes and scrolling ribbons at their waists, one floating to either side of the cross, are using gold chalices similar to communion vessels to catch the blood dripping from Jesus' nail-pierced hands and spurting from the wound in his side. To the proper right (Jesus' left) kneels Mary Magdalene, with John the Evangelist standing behind her.  To the proper left (Jesus' right) his mother Mary stands behind the kneeling Saint Jerome, who is holding a stone with which the hermit would piously beat his own chest.  The two kneeling figures are both reverently contemplating Jesus on the cross, while the two standing figures are wringing their hands while looking out at the viewer.  A panel at the top of the cross bears the inscription "INRI", while the foot of the cross bears a Latin inscription in silver letters: "RAPHAEL/ VRBIN / AS /.P.[INXIT]" ("Raphael of Urbino painted this").  The work is lit from the left, consistent with the illumination of the altarpiece by the windows in the chapel. The main panel measures 283.3 cm × 167.3 cm (111.5 in × 65.9 in) and is now housed in a 19th-century frame. The geometrical precision of the composition suggest it was laid out using a grid, using a rule and compasses to copy from a preparatory drawings.A drawing of a kneeling person, perhaps a study for the figure of Mary Magdalene, is held by the Ashmolean Museum in Oxford.The painting was influenced by Perugino, whom Raphael knew while living in Perugia.  It is similar to Perugino's c.1502 Monteripido Altarpiece, made the convent of San Francesco al Monte at Monteripido near Perugia, a similar crucifixion scene which has two similar angels with ribbons catching the blood of Jesus is chalices, accompanied by four figures, two standing and two kneeling, including the Virgin Mary, John the Evangelist, and Mary Magdalene, but the fourth is Francis of Assisi rather than Saint Jerome.  In the Mond Crucifixion, Raphael has used Perugino's technique of cross-hatched shadows, but also used his fingers to smear and soften the wet paint in places, leaving some detectable fingerprints.  Vasari later famously commented that no one would have believed it was painted by Raphael rather than Perugino if he had not signed it.

Category:Paintings of the Crucifixion of Jesus

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery, London

File:Perugino, pala di monteripido, recto.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings in the National Museum of Ancient Art


Mond Crucifixion

Prompt: Explain the Main panel of this artwork, Mond Crucifixion.

The main panel portrays the Crucifixion of Jesus, against a background of hills in the Umbrian countryside, with a view of Città di Castello in the distance.  Jesus looks peaceful even as he is dying on the cross, crowned with thorns and clad only in a loincloth that has an unusual red colour.  Above, a sun in gold leaf and moon in silver leaf appear together in the sky.  Two angels with flowing robes and scrolling ribbons at their waists, one floating to either side of the cross, are using gold chalices similar to communion vessels to catch the blood dripping from Jesus' nail-pierced hands and spurting from the wound in his side. To the proper right (Jesus' left) kneels Mary Magdalene, with John the Evangelist standing behind her.  To the proper left (Jesus' right) his mother Mary stands behind the kneeling Saint Jerome, who is holding a stone with which the hermit would piously beat his own chest.  The two kneeling figures are both reverently contemplating Jesus on the cross, while the two standing figures are wringing their hands while looking out at the viewer.  A panel at the top of the cross bears the inscription "INRI", while the foot of the cross bears a Latin inscription in silver letters: "RAPHAEL/ VRBIN / AS /.P.[INXIT]" ("Raphael of Urbino painted this").  The work is lit from the left, consistent with the illumination of the altarpiece by the windows in the chapel. The main panel measures 283.3 cm × 167.3 cm (111.5 in × 65.9 in) and is now housed in a 19th-century frame. The geometrical precision of the composition suggest it was laid out using a grid, using a rule and compasses to copy from a preparatory drawings.A drawing of a kneeling person, perhaps a study for the figure of Mary Magdalene, is held by the Ashmolean Museum in Oxford.The painting was influenced by Perugino, whom Raphael knew while living in Perugia.  It is similar to Perugino's c.1502 Monteripido Altarpiece, made the convent of San Francesco al Monte at Monteripido near Perugia, a similar crucifixion scene which has two similar angels with ribbons catching the blood of Jesus is chalices, accompanied by four figures, two standing and two kneeling, including the Virgin Mary, John the Evangelist, and Mary Magdalene, but the fourth is Francis of Assisi rather than Saint Jerome.  In the Mond Crucifixion, Raphael has used Perugino's technique of cross-hatched shadows, but also used his fingers to smear and soften the wet paint in places, leaving some detectable fingerprints.  Vasari later famously commented that no one would have believed it was painted by Raphael rather than Perugino if he had not signed it.

Category:Paintings of the Crucifixion of Jesus

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery, London

File:Perugino, pala di monteripido, recto.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings in the National Museum of Ancient Art