Droeshout portrait

Prompt: Focus on Droeshout portrait and explain the Critical  evaluations.

The poor modelling and the clumsy relationship between the head and the body have led many critics to see the print as a poor representation of the poet. J. Dover Wilson called it a "pudding faced effigy".  Sidney Lee wrote that "The face is long and the forehead high; the one ear which is visible is shapeless; the top of the head is bald, but the hair falls in abundance over the ears." Samuel Schoenbaum was equally dismissive:In the Shakespeare engraving a huge head, placed against a starched ruff, surmounts an absurdly small tunic with oversized shoulder-wings ... Light comes from several directions simultaneously: it falls on the bulbous protuberance of forehead – that "horrible hydrocephalous development", as it has been called – creates an odd crescent under the right eye and (in the second state) illuminates the edge of the hair on the right side.Northrop Frye said that the portrait makes Shakespeare "look like an idiot." Cooper notes that "the art of printmaking in England was underdeveloped and there were relatively few skilled engravers. Yet even by the less exacting standards observed in England, the Droeshout engraving is poorly proportioned." Benjamin Roland Lewis observes that "virtually all of Droeshout's work shows the same artistic defects. He was an engraver after the conventional manner, and not a creative artist."Not all critics have been so harsh. The 19th-century writer James Boaden wrote that "to me the portrait exhibits an aspect of calm benevolence and tender thought, great comprehension and a kind of mixt feeling, as when melancholy yields to the suggestions of fancy". He added that his friend John Philip Kemble thought this "despised work" was more characteristic of Shakespeare than any other known portrait. More recently, Park Honan has written that "if the portrait lacks the 'sparkle' of a witty poet, it suggests the inwardness of a writer of great intelligence, an independent man who is not insensitive to the pain of others."

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: Explain the Critical  evaluations of this artwork, Droeshout portrait.

The poor modelling and the clumsy relationship between the head and the body have led many critics to see the print as a poor representation of the poet. J. Dover Wilson called it a "pudding faced effigy".  Sidney Lee wrote that "The face is long and the forehead high; the one ear which is visible is shapeless; the top of the head is bald, but the hair falls in abundance over the ears." Samuel Schoenbaum was equally dismissive:In the Shakespeare engraving a huge head, placed against a starched ruff, surmounts an absurdly small tunic with oversized shoulder-wings ... Light comes from several directions simultaneously: it falls on the bulbous protuberance of forehead – that "horrible hydrocephalous development", as it has been called – creates an odd crescent under the right eye and (in the second state) illuminates the edge of the hair on the right side.Northrop Frye said that the portrait makes Shakespeare "look like an idiot." Cooper notes that "the art of printmaking in England was underdeveloped and there were relatively few skilled engravers. Yet even by the less exacting standards observed in England, the Droeshout engraving is poorly proportioned." Benjamin Roland Lewis observes that "virtually all of Droeshout's work shows the same artistic defects. He was an engraver after the conventional manner, and not a creative artist."Not all critics have been so harsh. The 19th-century writer James Boaden wrote that "to me the portrait exhibits an aspect of calm benevolence and tender thought, great comprehension and a kind of mixt feeling, as when melancholy yields to the suggestions of fancy". He added that his friend John Philip Kemble thought this "despised work" was more characteristic of Shakespeare than any other known portrait. More recently, Park Honan has written that "if the portrait lacks the 'sparkle' of a witty poet, it suggests the inwardness of a writer of great intelligence, an independent man who is not insensitive to the pain of others."

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: How does Droeshout portrait explain its Critical  evaluations?

The poor modelling and the clumsy relationship between the head and the body have led many critics to see the print as a poor representation of the poet. J. Dover Wilson called it a "pudding faced effigy".  Sidney Lee wrote that "The face is long and the forehead high; the one ear which is visible is shapeless; the top of the head is bald, but the hair falls in abundance over the ears." Samuel Schoenbaum was equally dismissive:In the Shakespeare engraving a huge head, placed against a starched ruff, surmounts an absurdly small tunic with oversized shoulder-wings ... Light comes from several directions simultaneously: it falls on the bulbous protuberance of forehead – that "horrible hydrocephalous development", as it has been called – creates an odd crescent under the right eye and (in the second state) illuminates the edge of the hair on the right side.Northrop Frye said that the portrait makes Shakespeare "look like an idiot." Cooper notes that "the art of printmaking in England was underdeveloped and there were relatively few skilled engravers. Yet even by the less exacting standards observed in England, the Droeshout engraving is poorly proportioned." Benjamin Roland Lewis observes that "virtually all of Droeshout's work shows the same artistic defects. He was an engraver after the conventional manner, and not a creative artist."Not all critics have been so harsh. The 19th-century writer James Boaden wrote that "to me the portrait exhibits an aspect of calm benevolence and tender thought, great comprehension and a kind of mixt feeling, as when melancholy yields to the suggestions of fancy". He added that his friend John Philip Kemble thought this "despised work" was more characteristic of Shakespeare than any other known portrait. More recently, Park Honan has written that "if the portrait lacks the 'sparkle' of a witty poet, it suggests the inwardness of a writer of great intelligence, an independent man who is not insensitive to the pain of others."

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: In Droeshout portrait, how is the Critical  evaluations discussed?

The poor modelling and the clumsy relationship between the head and the body have led many critics to see the print as a poor representation of the poet. J. Dover Wilson called it a "pudding faced effigy".  Sidney Lee wrote that "The face is long and the forehead high; the one ear which is visible is shapeless; the top of the head is bald, but the hair falls in abundance over the ears." Samuel Schoenbaum was equally dismissive:In the Shakespeare engraving a huge head, placed against a starched ruff, surmounts an absurdly small tunic with oversized shoulder-wings ... Light comes from several directions simultaneously: it falls on the bulbous protuberance of forehead – that "horrible hydrocephalous development", as it has been called – creates an odd crescent under the right eye and (in the second state) illuminates the edge of the hair on the right side.Northrop Frye said that the portrait makes Shakespeare "look like an idiot." Cooper notes that "the art of printmaking in England was underdeveloped and there were relatively few skilled engravers. Yet even by the less exacting standards observed in England, the Droeshout engraving is poorly proportioned." Benjamin Roland Lewis observes that "virtually all of Droeshout's work shows the same artistic defects. He was an engraver after the conventional manner, and not a creative artist."Not all critics have been so harsh. The 19th-century writer James Boaden wrote that "to me the portrait exhibits an aspect of calm benevolence and tender thought, great comprehension and a kind of mixt feeling, as when melancholy yields to the suggestions of fancy". He added that his friend John Philip Kemble thought this "despised work" was more characteristic of Shakespeare than any other known portrait. More recently, Park Honan has written that "if the portrait lacks the 'sparkle' of a witty poet, it suggests the inwardness of a writer of great intelligence, an independent man who is not insensitive to the pain of others."

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: In the context of Droeshout portrait, explain the Conspiracy theories and the Critical  evaluations.

Proponents of the Shakespeare authorship question, who assert that someone other than Shakespeare was the real author of the plays attributed to him, have claimed to find hidden signs in the portrait pointing to this supposed secret. Indeed, Dover Wilson suggested that the poor quality of the Droeshout and funeral effigy images are the underlying reason for "the campaign against 'the man from Stratford' and the attempts to dethrone him in favour of Lord Bacon, the Earl of Derby, the Earl of Oxford, or whatever coroneted pretender may be in vogue at the present moment." In 1911, William Stone Booth published a book claiming to demonstrate that the features of the engraving were "anatomically identical" to those of Francis Bacon, proving that he wrote the works. He achieved this by creating "combination images" from several portraits of Bacon and then superimposing them on the engraving. Using similar methods Charles Sidney Beauclerk subsequently concluded that the portrait depicted the Earl of Oxford. In 1995, Lillian Schwartz, using a computerised version of the same technique, argued that it was based on a portrait of Elizabeth I.An alternative approach has been to claim that the portrait depicts William Shakespeare, but does so in a way designed to ridicule him by making him look ugly, or to suggest that he is a mask for a hidden author. The double line created by the gap between the modelling shadow and the jawline has been used to suggest that it is a mask, as has the shape of the doublet, which is claimed to represent both the back and front of the body. Thus Edwin Durning-Lawrence asserts that "there is no question – there can be no possible question – that in fact it is a cunningly drawn cryptographic picture, shewing two left arms and a mask ... Especially note that the ear is a mask ear and stands out curiously; note also how distinct the line shewing the edge of the mask appears."None of these views are accepted by mainstream art historians. Lewis writes that these features are all characteristic of engravings of the era and that none are unusual. An engraving of John Davies of Hereford shares most of these quirks for example, including the uncertain placing of the head on the body and the "same awkward difference in design between the right and left shoulders".

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: Explain the Conspiracy theories about the Critical  evaluations of this artwork, Droeshout portrait.

Proponents of the Shakespeare authorship question, who assert that someone other than Shakespeare was the real author of the plays attributed to him, have claimed to find hidden signs in the portrait pointing to this supposed secret. Indeed, Dover Wilson suggested that the poor quality of the Droeshout and funeral effigy images are the underlying reason for "the campaign against 'the man from Stratford' and the attempts to dethrone him in favour of Lord Bacon, the Earl of Derby, the Earl of Oxford, or whatever coroneted pretender may be in vogue at the present moment." In 1911, William Stone Booth published a book claiming to demonstrate that the features of the engraving were "anatomically identical" to those of Francis Bacon, proving that he wrote the works. He achieved this by creating "combination images" from several portraits of Bacon and then superimposing them on the engraving. Using similar methods Charles Sidney Beauclerk subsequently concluded that the portrait depicted the Earl of Oxford. In 1995, Lillian Schwartz, using a computerised version of the same technique, argued that it was based on a portrait of Elizabeth I.An alternative approach has been to claim that the portrait depicts William Shakespeare, but does so in a way designed to ridicule him by making him look ugly, or to suggest that he is a mask for a hidden author. The double line created by the gap between the modelling shadow and the jawline has been used to suggest that it is a mask, as has the shape of the doublet, which is claimed to represent both the back and front of the body. Thus Edwin Durning-Lawrence asserts that "there is no question – there can be no possible question – that in fact it is a cunningly drawn cryptographic picture, shewing two left arms and a mask ... Especially note that the ear is a mask ear and stands out curiously; note also how distinct the line shewing the edge of the mask appears."None of these views are accepted by mainstream art historians. Lewis writes that these features are all characteristic of engravings of the era and that none are unusual. An engraving of John Davies of Hereford shares most of these quirks for example, including the uncertain placing of the head on the body and the "same awkward difference in design between the right and left shoulders".

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: In Droeshout portrait, how is the Conspiracy theories of the Critical  evaluations explained?

Proponents of the Shakespeare authorship question, who assert that someone other than Shakespeare was the real author of the plays attributed to him, have claimed to find hidden signs in the portrait pointing to this supposed secret. Indeed, Dover Wilson suggested that the poor quality of the Droeshout and funeral effigy images are the underlying reason for "the campaign against 'the man from Stratford' and the attempts to dethrone him in favour of Lord Bacon, the Earl of Derby, the Earl of Oxford, or whatever coroneted pretender may be in vogue at the present moment." In 1911, William Stone Booth published a book claiming to demonstrate that the features of the engraving were "anatomically identical" to those of Francis Bacon, proving that he wrote the works. He achieved this by creating "combination images" from several portraits of Bacon and then superimposing them on the engraving. Using similar methods Charles Sidney Beauclerk subsequently concluded that the portrait depicted the Earl of Oxford. In 1995, Lillian Schwartz, using a computerised version of the same technique, argued that it was based on a portrait of Elizabeth I.An alternative approach has been to claim that the portrait depicts William Shakespeare, but does so in a way designed to ridicule him by making him look ugly, or to suggest that he is a mask for a hidden author. The double line created by the gap between the modelling shadow and the jawline has been used to suggest that it is a mask, as has the shape of the doublet, which is claimed to represent both the back and front of the body. Thus Edwin Durning-Lawrence asserts that "there is no question – there can be no possible question – that in fact it is a cunningly drawn cryptographic picture, shewing two left arms and a mask ... Especially note that the ear is a mask ear and stands out curiously; note also how distinct the line shewing the edge of the mask appears."None of these views are accepted by mainstream art historians. Lewis writes that these features are all characteristic of engravings of the era and that none are unusual. An engraving of John Davies of Hereford shares most of these quirks for example, including the uncertain placing of the head on the body and the "same awkward difference in design between the right and left shoulders".

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: Describe the characteristics of the Conspiracy theories in Droeshout portrait's Critical  evaluations.

Proponents of the Shakespeare authorship question, who assert that someone other than Shakespeare was the real author of the plays attributed to him, have claimed to find hidden signs in the portrait pointing to this supposed secret. Indeed, Dover Wilson suggested that the poor quality of the Droeshout and funeral effigy images are the underlying reason for "the campaign against 'the man from Stratford' and the attempts to dethrone him in favour of Lord Bacon, the Earl of Derby, the Earl of Oxford, or whatever coroneted pretender may be in vogue at the present moment." In 1911, William Stone Booth published a book claiming to demonstrate that the features of the engraving were "anatomically identical" to those of Francis Bacon, proving that he wrote the works. He achieved this by creating "combination images" from several portraits of Bacon and then superimposing them on the engraving. Using similar methods Charles Sidney Beauclerk subsequently concluded that the portrait depicted the Earl of Oxford. In 1995, Lillian Schwartz, using a computerised version of the same technique, argued that it was based on a portrait of Elizabeth I.An alternative approach has been to claim that the portrait depicts William Shakespeare, but does so in a way designed to ridicule him by making him look ugly, or to suggest that he is a mask for a hidden author. The double line created by the gap between the modelling shadow and the jawline has been used to suggest that it is a mask, as has the shape of the doublet, which is claimed to represent both the back and front of the body. Thus Edwin Durning-Lawrence asserts that "there is no question – there can be no possible question – that in fact it is a cunningly drawn cryptographic picture, shewing two left arms and a mask ... Especially note that the ear is a mask ear and stands out curiously; note also how distinct the line shewing the edge of the mask appears."None of these views are accepted by mainstream art historians. Lewis writes that these features are all characteristic of engravings of the era and that none are unusual. An engraving of John Davies of Hereford shares most of these quirks for example, including the uncertain placing of the head on the body and the "same awkward difference in design between the right and left shoulders".

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Malle Babbe

Prompt: Focus on Malle Babbe and explain the abstract.

Malle Babbe is a painting by the Dutch Golden Age painter Frans Hals, painted c. 1633-1635, and now in the Gemäldegalerie, in Berlin. The painting has also been titled as Hille Bobbe or the Witch of Haarlem. It was traditionally interpreted as a tronie, or genre painting in a portrait format, depicting a mythic witch-figure. The painting is now often identified as a genre-style portrait of a specific individual from Haarlem, known as Malle (meaning "crazy") Babbe, who may have been an alcoholic or suffered from a mental illness.The painting has been an object of artistic admiration from Hals's lifetime, as there are several copies and variants painted by his followers. It was admired by Gustave Courbet, who made a copy of it in 1869 while it was on view in Munich.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: Explain the abstract of this artwork, Malle Babbe.

Malle Babbe is a painting by the Dutch Golden Age painter Frans Hals, painted c. 1633-1635, and now in the Gemäldegalerie, in Berlin. The painting has also been titled as Hille Bobbe or the Witch of Haarlem. It was traditionally interpreted as a tronie, or genre painting in a portrait format, depicting a mythic witch-figure. The painting is now often identified as a genre-style portrait of a specific individual from Haarlem, known as Malle (meaning "crazy") Babbe, who may have been an alcoholic or suffered from a mental illness.The painting has been an object of artistic admiration from Hals's lifetime, as there are several copies and variants painted by his followers. It was admired by Gustave Courbet, who made a copy of it in 1869 while it was on view in Munich.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: How does Malle Babbe explain its abstract?

Malle Babbe is a painting by the Dutch Golden Age painter Frans Hals, painted c. 1633-1635, and now in the Gemäldegalerie, in Berlin. The painting has also been titled as Hille Bobbe or the Witch of Haarlem. It was traditionally interpreted as a tronie, or genre painting in a portrait format, depicting a mythic witch-figure. The painting is now often identified as a genre-style portrait of a specific individual from Haarlem, known as Malle (meaning "crazy") Babbe, who may have been an alcoholic or suffered from a mental illness.The painting has been an object of artistic admiration from Hals's lifetime, as there are several copies and variants painted by his followers. It was admired by Gustave Courbet, who made a copy of it in 1869 while it was on view in Munich.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: In Malle Babbe, how is the abstract discussed?

Malle Babbe is a painting by the Dutch Golden Age painter Frans Hals, painted c. 1633-1635, and now in the Gemäldegalerie, in Berlin. The painting has also been titled as Hille Bobbe or the Witch of Haarlem. It was traditionally interpreted as a tronie, or genre painting in a portrait format, depicting a mythic witch-figure. The painting is now often identified as a genre-style portrait of a specific individual from Haarlem, known as Malle (meaning "crazy") Babbe, who may have been an alcoholic or suffered from a mental illness.The painting has been an object of artistic admiration from Hals's lifetime, as there are several copies and variants painted by his followers. It was admired by Gustave Courbet, who made a copy of it in 1869 while it was on view in Munich.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: Focus on Malle Babbe and explain the Painting.

The painting is an oil on canvas measuring 75 × 64 cm and shows the face of a smiling woman, sitting at the corner of a table, apparently talking or laughing at someone or something to the right of the canvas. With her right hand, the woman is gripping a pewter beer mug with an opened lid. An owl sits on the woman's left shoulder. The clothing of the woman is simple and corresponds with the mode around 1630 in Haarlem. Her face is animated in an almost manic grimace. The very free handling of paint is typical of Hals' style, and not very different from that on his more formal commissioned portraits.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: Explain the Painting of this artwork, Malle Babbe.

The painting is an oil on canvas measuring 75 × 64 cm and shows the face of a smiling woman, sitting at the corner of a table, apparently talking or laughing at someone or something to the right of the canvas. With her right hand, the woman is gripping a pewter beer mug with an opened lid. An owl sits on the woman's left shoulder. The clothing of the woman is simple and corresponds with the mode around 1630 in Haarlem. Her face is animated in an almost manic grimace. The very free handling of paint is typical of Hals' style, and not very different from that on his more formal commissioned portraits.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: How does Malle Babbe explain its Painting?

The painting is an oil on canvas measuring 75 × 64 cm and shows the face of a smiling woman, sitting at the corner of a table, apparently talking or laughing at someone or something to the right of the canvas. With her right hand, the woman is gripping a pewter beer mug with an opened lid. An owl sits on the woman's left shoulder. The clothing of the woman is simple and corresponds with the mode around 1630 in Haarlem. Her face is animated in an almost manic grimace. The very free handling of paint is typical of Hals' style, and not very different from that on his more formal commissioned portraits.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: In Malle Babbe, how is the Painting discussed?

The painting is an oil on canvas measuring 75 × 64 cm and shows the face of a smiling woman, sitting at the corner of a table, apparently talking or laughing at someone or something to the right of the canvas. With her right hand, the woman is gripping a pewter beer mug with an opened lid. An owl sits on the woman's left shoulder. The clothing of the woman is simple and corresponds with the mode around 1630 in Haarlem. Her face is animated in an almost manic grimace. The very free handling of paint is typical of Hals' style, and not very different from that on his more formal commissioned portraits.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: Focus on Malle Babbe and explain the Name.

The painting was for a long time mislabelled as Retarded Man (alternatively The Witch of Haarlem) through a misreading of the inscription on the back of the picture frame which in fact reads Malle Babbe van Haerlem … Fr[a]ns Hals (Malle Babbe of Haarlem).Under the witch interpretation, the owl was considered a possible familiar. However the subject matter of Frans Hals in his other paintings would suggest that the painting is probably of a pub scene, in which case the owl would reflect the Dutch proverb, "drunk as an owl."

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: Explain the Name of this artwork, Malle Babbe.

The painting was for a long time mislabelled as Retarded Man (alternatively The Witch of Haarlem) through a misreading of the inscription on the back of the picture frame which in fact reads Malle Babbe van Haerlem … Fr[a]ns Hals (Malle Babbe of Haarlem).Under the witch interpretation, the owl was considered a possible familiar. However the subject matter of Frans Hals in his other paintings would suggest that the painting is probably of a pub scene, in which case the owl would reflect the Dutch proverb, "drunk as an owl."

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: How does Malle Babbe explain its Name?

The painting was for a long time mislabelled as Retarded Man (alternatively The Witch of Haarlem) through a misreading of the inscription on the back of the picture frame which in fact reads Malle Babbe van Haerlem … Fr[a]ns Hals (Malle Babbe of Haarlem).Under the witch interpretation, the owl was considered a possible familiar. However the subject matter of Frans Hals in his other paintings would suggest that the painting is probably of a pub scene, in which case the owl would reflect the Dutch proverb, "drunk as an owl."

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: In Malle Babbe, how is the Name discussed?

The painting was for a long time mislabelled as Retarded Man (alternatively The Witch of Haarlem) through a misreading of the inscription on the back of the picture frame which in fact reads Malle Babbe van Haerlem … Fr[a]ns Hals (Malle Babbe of Haarlem).Under the witch interpretation, the owl was considered a possible familiar. However the subject matter of Frans Hals in his other paintings would suggest that the painting is probably of a pub scene, in which case the owl would reflect the Dutch proverb, "drunk as an owl."

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: Focus on Malle Babbe and explain the The real Malle Babbe.

Research in the Netherlands municipality of Haarlem showed that a real Malle Babbe actually existed, named Barbara Claes. She was included in a list of residents of the local hospital called Het Dolhuys, situated outside the city walls, which served people who were dangerous to themselves or to society, as well as a hospice for travellers arriving after the city gates had closed.  Around 1642, Pieter Hals, a son of Frans Hals, was also in this hospice. Hals and this Malle Babbe had probably already met by this time, as she was evidently a known personality in Haarlem, although none other of her biographical details survive except that she died in 1663. In Dutch the adjective "Malle" signifies "loony" and it is not uncommon to see painters or writers depict this type of village figure. In this type of depiction one can find a record of unbalanced figures of society as belonging to the scenery of everyday life, or the artist may enjoy exploring the thin line between sanity and lunacy.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: Explain the The real Malle Babbe of this artwork, Malle Babbe.

Research in the Netherlands municipality of Haarlem showed that a real Malle Babbe actually existed, named Barbara Claes. She was included in a list of residents of the local hospital called Het Dolhuys, situated outside the city walls, which served people who were dangerous to themselves or to society, as well as a hospice for travellers arriving after the city gates had closed.  Around 1642, Pieter Hals, a son of Frans Hals, was also in this hospice. Hals and this Malle Babbe had probably already met by this time, as she was evidently a known personality in Haarlem, although none other of her biographical details survive except that she died in 1663. In Dutch the adjective "Malle" signifies "loony" and it is not uncommon to see painters or writers depict this type of village figure. In this type of depiction one can find a record of unbalanced figures of society as belonging to the scenery of everyday life, or the artist may enjoy exploring the thin line between sanity and lunacy.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: How does Malle Babbe explain its The real Malle Babbe?

Research in the Netherlands municipality of Haarlem showed that a real Malle Babbe actually existed, named Barbara Claes. She was included in a list of residents of the local hospital called Het Dolhuys, situated outside the city walls, which served people who were dangerous to themselves or to society, as well as a hospice for travellers arriving after the city gates had closed.  Around 1642, Pieter Hals, a son of Frans Hals, was also in this hospice. Hals and this Malle Babbe had probably already met by this time, as she was evidently a known personality in Haarlem, although none other of her biographical details survive except that she died in 1663. In Dutch the adjective "Malle" signifies "loony" and it is not uncommon to see painters or writers depict this type of village figure. In this type of depiction one can find a record of unbalanced figures of society as belonging to the scenery of everyday life, or the artist may enjoy exploring the thin line between sanity and lunacy.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: In Malle Babbe, how is the The real Malle Babbe discussed?

Research in the Netherlands municipality of Haarlem showed that a real Malle Babbe actually existed, named Barbara Claes. She was included in a list of residents of the local hospital called Het Dolhuys, situated outside the city walls, which served people who were dangerous to themselves or to society, as well as a hospice for travellers arriving after the city gates had closed.  Around 1642, Pieter Hals, a son of Frans Hals, was also in this hospice. Hals and this Malle Babbe had probably already met by this time, as she was evidently a known personality in Haarlem, although none other of her biographical details survive except that she died in 1663. In Dutch the adjective "Malle" signifies "loony" and it is not uncommon to see painters or writers depict this type of village figure. In this type of depiction one can find a record of unbalanced figures of society as belonging to the scenery of everyday life, or the artist may enjoy exploring the thin line between sanity and lunacy.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: Focus on Malle Babbe and explain the Other paintings.

The Metropolitan Museum of Art in New York City is in possession of a similar painting. It is not clear who the creator of this painting is. In the past it was also attributed to Frans Hals, but it is now thought to be the work of one of his pupils.Another variant depicts Malle Babbe accompanied by a male drinker. There are two paintings of unknown authorship in which she is depicted with a male figure adapted from a work by Adriaen Brouwer. Both figures are depicted behind a table full of fish. There are also two portraits apparently depicting Babbe, but without the owl.Han van Meegeren created a version of the subject in the style of Vermeer which is now being exhibited in the Rijksmuseum.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: Explain the Other paintings of this artwork, Malle Babbe.

The Metropolitan Museum of Art in New York City is in possession of a similar painting. It is not clear who the creator of this painting is. In the past it was also attributed to Frans Hals, but it is now thought to be the work of one of his pupils.Another variant depicts Malle Babbe accompanied by a male drinker. There are two paintings of unknown authorship in which she is depicted with a male figure adapted from a work by Adriaen Brouwer. Both figures are depicted behind a table full of fish. There are also two portraits apparently depicting Babbe, but without the owl.Han van Meegeren created a version of the subject in the style of Vermeer which is now being exhibited in the Rijksmuseum.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: How does Malle Babbe explain its Other paintings?

The Metropolitan Museum of Art in New York City is in possession of a similar painting. It is not clear who the creator of this painting is. In the past it was also attributed to Frans Hals, but it is now thought to be the work of one of his pupils.Another variant depicts Malle Babbe accompanied by a male drinker. There are two paintings of unknown authorship in which she is depicted with a male figure adapted from a work by Adriaen Brouwer. Both figures are depicted behind a table full of fish. There are also two portraits apparently depicting Babbe, but without the owl.Han van Meegeren created a version of the subject in the style of Vermeer which is now being exhibited in the Rijksmuseum.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: In Malle Babbe, how is the Other paintings discussed?

The Metropolitan Museum of Art in New York City is in possession of a similar painting. It is not clear who the creator of this painting is. In the past it was also attributed to Frans Hals, but it is now thought to be the work of one of his pupils.Another variant depicts Malle Babbe accompanied by a male drinker. There are two paintings of unknown authorship in which she is depicted with a male figure adapted from a work by Adriaen Brouwer. Both figures are depicted behind a table full of fish. There are also two portraits apparently depicting Babbe, but without the owl.Han van Meegeren created a version of the subject in the style of Vermeer which is now being exhibited in the Rijksmuseum.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: Focus on Malle Babbe and explain the Song.

In the Netherlands, the painting also gave its name to a well-known song, written by Boudewijn de Groot and Lennaert Nijgh and first performed in 1973 by Rob de Nijs. The actual subject of the song "Malle Babbe" however was inspired by another painting by Frans Hals, The Gypsy Girl, depicting a busty young woman, possibly a prostitute.  The song celebrates her lusty sexuality. However, it also refers to her having frothy beer in a tavern, the setting for Malle Babbe, not The Gypsy Girl. Both pictures were seen by Nijgh in a 1962 exhibition.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: Explain the Song of this artwork, Malle Babbe.

In the Netherlands, the painting also gave its name to a well-known song, written by Boudewijn de Groot and Lennaert Nijgh and first performed in 1973 by Rob de Nijs. The actual subject of the song "Malle Babbe" however was inspired by another painting by Frans Hals, The Gypsy Girl, depicting a busty young woman, possibly a prostitute.  The song celebrates her lusty sexuality. However, it also refers to her having frothy beer in a tavern, the setting for Malle Babbe, not The Gypsy Girl. Both pictures were seen by Nijgh in a 1962 exhibition.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: How does Malle Babbe explain its Song?

In the Netherlands, the painting also gave its name to a well-known song, written by Boudewijn de Groot and Lennaert Nijgh and first performed in 1973 by Rob de Nijs. The actual subject of the song "Malle Babbe" however was inspired by another painting by Frans Hals, The Gypsy Girl, depicting a busty young woman, possibly a prostitute.  The song celebrates her lusty sexuality. However, it also refers to her having frothy beer in a tavern, the setting for Malle Babbe, not The Gypsy Girl. Both pictures were seen by Nijgh in a 1962 exhibition.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Malle Babbe

Prompt: In Malle Babbe, how is the Song discussed?

In the Netherlands, the painting also gave its name to a well-known song, written by Boudewijn de Groot and Lennaert Nijgh and first performed in 1973 by Rob de Nijs. The actual subject of the song "Malle Babbe" however was inspired by another painting by Frans Hals, The Gypsy Girl, depicting a busty young woman, possibly a prostitute.  The song celebrates her lusty sexuality. However, it also refers to her having frothy beer in a tavern, the setting for Malle Babbe, not The Gypsy Girl. Both pictures were seen by Nijgh in a 1962 exhibition.

Inscription to verso: ''Malle Babbe van Haerlem ... Fr[a]ns Hals'

Category:Paintings in the Gemäldegalerie, Berlin

Image:Frans Hals Malle Babbe Inschrift.jpg

File:Umkreis Frans Hals New Yorker Malle Babbe.jpg

''Bronze Malle Babbe'', by [[Kees Verkade

''Malle Babbe'', oil on canvas, 74.9 x 61 cm, Metropolitan Museum of Art


Portrait of a Carthusian

Prompt: Focus on Portrait of a Carthusian and explain the abstract.

Portrait of a Carthusian is a painting in oils on oak panel by the Early Netherlandish painter Petrus Christus in 1446. The work is part of the Jules Bache Collection housed at the Metropolitan Museum of Art in New York City.It is regarded as a masterpiece of Early Netherlandish painting and, because of the fly painted towards the bottom of the painting, a prominent, early example of trompe-l'œil. In 2020, the painting became a meme after the subject was compared to a Northeast Philadelphia local.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: Explain the abstract of this artwork, Portrait of a Carthusian.

Portrait of a Carthusian is a painting in oils on oak panel by the Early Netherlandish painter Petrus Christus in 1446. The work is part of the Jules Bache Collection housed at the Metropolitan Museum of Art in New York City.It is regarded as a masterpiece of Early Netherlandish painting and, because of the fly painted towards the bottom of the painting, a prominent, early example of trompe-l'œil. In 2020, the painting became a meme after the subject was compared to a Northeast Philadelphia local.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: How does Portrait of a Carthusian explain its abstract?

Portrait of a Carthusian is a painting in oils on oak panel by the Early Netherlandish painter Petrus Christus in 1446. The work is part of the Jules Bache Collection housed at the Metropolitan Museum of Art in New York City.It is regarded as a masterpiece of Early Netherlandish painting and, because of the fly painted towards the bottom of the painting, a prominent, early example of trompe-l'œil. In 2020, the painting became a meme after the subject was compared to a Northeast Philadelphia local.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: In Portrait of a Carthusian, how is the abstract discussed?

Portrait of a Carthusian is a painting in oils on oak panel by the Early Netherlandish painter Petrus Christus in 1446. The work is part of the Jules Bache Collection housed at the Metropolitan Museum of Art in New York City.It is regarded as a masterpiece of Early Netherlandish painting and, because of the fly painted towards the bottom of the painting, a prominent, early example of trompe-l'œil. In 2020, the painting became a meme after the subject was compared to a Northeast Philadelphia local.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: In the context of Portrait of a Carthusian, explain the The monk and the Overview.

Portrait of a Carthusian depicts a three-quarter portrait of anonymous Carthusian monk captured in mid-turn, gazing directly at the viewer. Because the monk's body is turned to his left, he must look over his right shoulder to gaze at the viewer, creating a somewhat cumbersome diagonal pose. Petrus Christus balances this out by shifting the axis of the monk's face to the right, placing him just off center. By further modeling the monk's right shoulder more than his left shoulder, Christus draws one side of the body closer to the viewer, adding more depth to the work. The proportions of the monk's face have also been exaggerated; the nose and eyes having been purposefully elongated. The overall effect is something of an exaggerated silhouette, a compositional technique not often found in Early Netherlandish painting.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: Explain the The monk about the Overview of this artwork, Portrait of a Carthusian.

Portrait of a Carthusian depicts a three-quarter portrait of anonymous Carthusian monk captured in mid-turn, gazing directly at the viewer. Because the monk's body is turned to his left, he must look over his right shoulder to gaze at the viewer, creating a somewhat cumbersome diagonal pose. Petrus Christus balances this out by shifting the axis of the monk's face to the right, placing him just off center. By further modeling the monk's right shoulder more than his left shoulder, Christus draws one side of the body closer to the viewer, adding more depth to the work. The proportions of the monk's face have also been exaggerated; the nose and eyes having been purposefully elongated. The overall effect is something of an exaggerated silhouette, a compositional technique not often found in Early Netherlandish painting.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: In Portrait of a Carthusian, how is the The monk of the Overview explained?

Portrait of a Carthusian depicts a three-quarter portrait of anonymous Carthusian monk captured in mid-turn, gazing directly at the viewer. Because the monk's body is turned to his left, he must look over his right shoulder to gaze at the viewer, creating a somewhat cumbersome diagonal pose. Petrus Christus balances this out by shifting the axis of the monk's face to the right, placing him just off center. By further modeling the monk's right shoulder more than his left shoulder, Christus draws one side of the body closer to the viewer, adding more depth to the work. The proportions of the monk's face have also been exaggerated; the nose and eyes having been purposefully elongated. The overall effect is something of an exaggerated silhouette, a compositional technique not often found in Early Netherlandish painting.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: Describe the characteristics of the The monk in Portrait of a Carthusian's Overview.

Portrait of a Carthusian depicts a three-quarter portrait of anonymous Carthusian monk captured in mid-turn, gazing directly at the viewer. Because the monk's body is turned to his left, he must look over his right shoulder to gaze at the viewer, creating a somewhat cumbersome diagonal pose. Petrus Christus balances this out by shifting the axis of the monk's face to the right, placing him just off center. By further modeling the monk's right shoulder more than his left shoulder, Christus draws one side of the body closer to the viewer, adding more depth to the work. The proportions of the monk's face have also been exaggerated; the nose and eyes having been purposefully elongated. The overall effect is something of an exaggerated silhouette, a compositional technique not often found in Early Netherlandish painting.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: In the context of Portrait of a Carthusian, explain the Space and lighting and the Overview.

The lighting scheme employed by Petrus Christus is also noteworthy. The Monk is bathed in intense light, setting his figure dramatically against the space that he occupies. While this strong, raking light is typical of contemporaries like Jan van Eyck, Christus’ addition of a second, opposing lighting source behind the monk marks this portrait as distinctive. The light on the left seems to be a reflection from within the room, yet the light bathing the monk seems to be coming from an external source, perhaps an unseen window. The result is that light comes from both in and outside the pictorial space, with the monk (particularly along the hood of his cloak) being the meeting point of the two. The monk is therefore framed by a two-source lighting structure, allowing Christus to employ a much fuller and richer spectrum of colors and shading than a single-source lighting structure would. This complex lighting scheme is the reason Portrait of a Carthusian appears fully 3-dimensional and realistic.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: Explain the Space and lighting about the Overview of this artwork, Portrait of a Carthusian.

The lighting scheme employed by Petrus Christus is also noteworthy. The Monk is bathed in intense light, setting his figure dramatically against the space that he occupies. While this strong, raking light is typical of contemporaries like Jan van Eyck, Christus’ addition of a second, opposing lighting source behind the monk marks this portrait as distinctive. The light on the left seems to be a reflection from within the room, yet the light bathing the monk seems to be coming from an external source, perhaps an unseen window. The result is that light comes from both in and outside the pictorial space, with the monk (particularly along the hood of his cloak) being the meeting point of the two. The monk is therefore framed by a two-source lighting structure, allowing Christus to employ a much fuller and richer spectrum of colors and shading than a single-source lighting structure would. This complex lighting scheme is the reason Portrait of a Carthusian appears fully 3-dimensional and realistic.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: In Portrait of a Carthusian, how is the Space and lighting of the Overview explained?

The lighting scheme employed by Petrus Christus is also noteworthy. The Monk is bathed in intense light, setting his figure dramatically against the space that he occupies. While this strong, raking light is typical of contemporaries like Jan van Eyck, Christus’ addition of a second, opposing lighting source behind the monk marks this portrait as distinctive. The light on the left seems to be a reflection from within the room, yet the light bathing the monk seems to be coming from an external source, perhaps an unseen window. The result is that light comes from both in and outside the pictorial space, with the monk (particularly along the hood of his cloak) being the meeting point of the two. The monk is therefore framed by a two-source lighting structure, allowing Christus to employ a much fuller and richer spectrum of colors and shading than a single-source lighting structure would. This complex lighting scheme is the reason Portrait of a Carthusian appears fully 3-dimensional and realistic.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: Describe the characteristics of the Space and lighting in Portrait of a Carthusian's Overview.

The lighting scheme employed by Petrus Christus is also noteworthy. The Monk is bathed in intense light, setting his figure dramatically against the space that he occupies. While this strong, raking light is typical of contemporaries like Jan van Eyck, Christus’ addition of a second, opposing lighting source behind the monk marks this portrait as distinctive. The light on the left seems to be a reflection from within the room, yet the light bathing the monk seems to be coming from an external source, perhaps an unseen window. The result is that light comes from both in and outside the pictorial space, with the monk (particularly along the hood of his cloak) being the meeting point of the two. The monk is therefore framed by a two-source lighting structure, allowing Christus to employ a much fuller and richer spectrum of colors and shading than a single-source lighting structure would. This complex lighting scheme is the reason Portrait of a Carthusian appears fully 3-dimensional and realistic.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: In the context of Portrait of a Carthusian, explain the The fly and trompe-l'œil and the Overview.

Portrait of a Carthusian sports a trompe-l'œil fly on the center of its trompe-l'œil lower frame. The addition of trompe-l'œil flies to works of art is believed to have begun in the 15th century, right as Christus became active. Art Historians are generally split between two different interpretations of their use. Many art historians believe the fly to hold religious symbolism, functions as connotations of sin, corruption, mortality, etc. Art historians believe that a fly was used to evoke such images in connection with Satan’s moniker Beelzebub—the Lord of the Flies. More recently, art historians are beginning to view the inclusion of trompe-l'œil flies as a professional calling card, with art historian Felix Thülemann describing it as “a selfconscious representation of superior painterly prowess. It is believed that this is why the fly generally appears next to the artist’s signature (the fly’s position right next to ‘Petrus ΧΡΙ Me Fecit’ hinting that the fly might be the referent of ‘me’ rather than the painting.)

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: Explain the The fly and trompe-l'œil about the Overview of this artwork, Portrait of a Carthusian.

Portrait of a Carthusian sports a trompe-l'œil fly on the center of its trompe-l'œil lower frame. The addition of trompe-l'œil flies to works of art is believed to have begun in the 15th century, right as Christus became active. Art Historians are generally split between two different interpretations of their use. Many art historians believe the fly to hold religious symbolism, functions as connotations of sin, corruption, mortality, etc. Art historians believe that a fly was used to evoke such images in connection with Satan’s moniker Beelzebub—the Lord of the Flies. More recently, art historians are beginning to view the inclusion of trompe-l'œil flies as a professional calling card, with art historian Felix Thülemann describing it as “a selfconscious representation of superior painterly prowess. It is believed that this is why the fly generally appears next to the artist’s signature (the fly’s position right next to ‘Petrus ΧΡΙ Me Fecit’ hinting that the fly might be the referent of ‘me’ rather than the painting.)

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: In Portrait of a Carthusian, how is the The fly and trompe-l'œil of the Overview explained?

Portrait of a Carthusian sports a trompe-l'œil fly on the center of its trompe-l'œil lower frame. The addition of trompe-l'œil flies to works of art is believed to have begun in the 15th century, right as Christus became active. Art Historians are generally split between two different interpretations of their use. Many art historians believe the fly to hold religious symbolism, functions as connotations of sin, corruption, mortality, etc. Art historians believe that a fly was used to evoke such images in connection with Satan’s moniker Beelzebub—the Lord of the Flies. More recently, art historians are beginning to view the inclusion of trompe-l'œil flies as a professional calling card, with art historian Felix Thülemann describing it as “a selfconscious representation of superior painterly prowess. It is believed that this is why the fly generally appears next to the artist’s signature (the fly’s position right next to ‘Petrus ΧΡΙ Me Fecit’ hinting that the fly might be the referent of ‘me’ rather than the painting.)

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: Describe the characteristics of the The fly and trompe-l'œil in Portrait of a Carthusian's Overview.

Portrait of a Carthusian sports a trompe-l'œil fly on the center of its trompe-l'œil lower frame. The addition of trompe-l'œil flies to works of art is believed to have begun in the 15th century, right as Christus became active. Art Historians are generally split between two different interpretations of their use. Many art historians believe the fly to hold religious symbolism, functions as connotations of sin, corruption, mortality, etc. Art historians believe that a fly was used to evoke such images in connection with Satan’s moniker Beelzebub—the Lord of the Flies. More recently, art historians are beginning to view the inclusion of trompe-l'œil flies as a professional calling card, with art historian Felix Thülemann describing it as “a selfconscious representation of superior painterly prowess. It is believed that this is why the fly generally appears next to the artist’s signature (the fly’s position right next to ‘Petrus ΧΡΙ Me Fecit’ hinting that the fly might be the referent of ‘me’ rather than the painting.)

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: Focus on Portrait of a Carthusian and explain the Halo and 1994 restoration.

Portrait of a Carthusian featured a halo above the monk's head when it was acquired by the Metropolitan Museum of Art in 1944. However, halos are extremely rare in Early Netherlandish painting and the one in Portrait of a Carthusian had long been an object of speculation. Finally in 1994, in preparation for the Met's exhibition Petrus Christus: Renaissance Master of Bruges, the authenticity of the halo was publicly examined by a panel of Early Netherlandish specialists and determined to be an addition. The team generally agreed that halo was probably added in Spain in the 17th century—imitating an Italian trend—where it became part of the collection of Don Ramon de Oms, viceroy of Majorca, who sold the work to American industrialist Jules Bache in 1911. The team recommended that the halo be removed to make the painting more aesthetically authentic. Christus was one of the first Netherlandish painters to really play with the illusion of space and light. The addition of the halo, though, forced the viewer to look at the foreground and therefore framed the space in a way Christus never intended. Since the removal of the halo, the Met has gone on to delete other dubious halos from Christus works, most notably in Portrait of a Goldsmith.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: Explain the Halo and 1994 restoration of this artwork, Portrait of a Carthusian.

Portrait of a Carthusian featured a halo above the monk's head when it was acquired by the Metropolitan Museum of Art in 1944. However, halos are extremely rare in Early Netherlandish painting and the one in Portrait of a Carthusian had long been an object of speculation. Finally in 1994, in preparation for the Met's exhibition Petrus Christus: Renaissance Master of Bruges, the authenticity of the halo was publicly examined by a panel of Early Netherlandish specialists and determined to be an addition. The team generally agreed that halo was probably added in Spain in the 17th century—imitating an Italian trend—where it became part of the collection of Don Ramon de Oms, viceroy of Majorca, who sold the work to American industrialist Jules Bache in 1911. The team recommended that the halo be removed to make the painting more aesthetically authentic. Christus was one of the first Netherlandish painters to really play with the illusion of space and light. The addition of the halo, though, forced the viewer to look at the foreground and therefore framed the space in a way Christus never intended. Since the removal of the halo, the Met has gone on to delete other dubious halos from Christus works, most notably in Portrait of a Goldsmith.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: How does Portrait of a Carthusian explain its Halo and 1994 restoration?

Portrait of a Carthusian featured a halo above the monk's head when it was acquired by the Metropolitan Museum of Art in 1944. However, halos are extremely rare in Early Netherlandish painting and the one in Portrait of a Carthusian had long been an object of speculation. Finally in 1994, in preparation for the Met's exhibition Petrus Christus: Renaissance Master of Bruges, the authenticity of the halo was publicly examined by a panel of Early Netherlandish specialists and determined to be an addition. The team generally agreed that halo was probably added in Spain in the 17th century—imitating an Italian trend—where it became part of the collection of Don Ramon de Oms, viceroy of Majorca, who sold the work to American industrialist Jules Bache in 1911. The team recommended that the halo be removed to make the painting more aesthetically authentic. Christus was one of the first Netherlandish painters to really play with the illusion of space and light. The addition of the halo, though, forced the viewer to look at the foreground and therefore framed the space in a way Christus never intended. Since the removal of the halo, the Met has gone on to delete other dubious halos from Christus works, most notably in Portrait of a Goldsmith.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of a Carthusian

Prompt: In Portrait of a Carthusian, how is the Halo and 1994 restoration discussed?

Portrait of a Carthusian featured a halo above the monk's head when it was acquired by the Metropolitan Museum of Art in 1944. However, halos are extremely rare in Early Netherlandish painting and the one in Portrait of a Carthusian had long been an object of speculation. Finally in 1994, in preparation for the Met's exhibition Petrus Christus: Renaissance Master of Bruges, the authenticity of the halo was publicly examined by a panel of Early Netherlandish specialists and determined to be an addition. The team generally agreed that halo was probably added in Spain in the 17th century—imitating an Italian trend—where it became part of the collection of Don Ramon de Oms, viceroy of Majorca, who sold the work to American industrialist Jules Bache in 1911. The team recommended that the halo be removed to make the painting more aesthetically authentic. Christus was one of the first Netherlandish painters to really play with the illusion of space and light. The addition of the halo, though, forced the viewer to look at the foreground and therefore framed the space in a way Christus never intended. Since the removal of the halo, the Met has gone on to delete other dubious halos from Christus works, most notably in Portrait of a Goldsmith.

Category:Paintings in the Metropolitan Museum of Art

''Portrait of a Carthusian'' before removal of the halo


Portrait of Irène Cahen d'Anvers

Prompt: Focus on Portrait of Irène Cahen d'Anvers and explain the abstract.

The Portrait of Irène Cahen d’Anvers, or The Little Girl with the Blue Ribbon (French: La Petite Fille au ruban bleu) or Little Irène (French: La Petite Irène), is an oil painting by French Impressionist artist Pierre-Auguste Renoir.Commissioned by the wealthy French Jewish banker Louis Cahen d'Anvers in 1880, the painting depicts his daughter Irène Cahen d'Anvers at the age of 8. During World War II, the painting was stolen by the Nazis during their organized looting of European countries. In 1946 it resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". In 2014, it appeared in the war film The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program.

Category:Portraits by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Portrait of Irène Cahen d'Anvers

Prompt: Explain the abstract of this artwork, Portrait of Irène Cahen d'Anvers.

The Portrait of Irène Cahen d’Anvers, or The Little Girl with the Blue Ribbon (French: La Petite Fille au ruban bleu) or Little Irène (French: La Petite Irène), is an oil painting by French Impressionist artist Pierre-Auguste Renoir.Commissioned by the wealthy French Jewish banker Louis Cahen d'Anvers in 1880, the painting depicts his daughter Irène Cahen d'Anvers at the age of 8. During World War II, the painting was stolen by the Nazis during their organized looting of European countries. In 1946 it resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". In 2014, it appeared in the war film The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program.

Category:Portraits by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Portrait of Irène Cahen d'Anvers

Prompt: How does Portrait of Irène Cahen d'Anvers explain its abstract?

The Portrait of Irène Cahen d’Anvers, or The Little Girl with the Blue Ribbon (French: La Petite Fille au ruban bleu) or Little Irène (French: La Petite Irène), is an oil painting by French Impressionist artist Pierre-Auguste Renoir.Commissioned by the wealthy French Jewish banker Louis Cahen d'Anvers in 1880, the painting depicts his daughter Irène Cahen d'Anvers at the age of 8. During World War II, the painting was stolen by the Nazis during their organized looting of European countries. In 1946 it resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". In 2014, it appeared in the war film The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program.

Category:Portraits by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Portrait of Irène Cahen d'Anvers

Prompt: In Portrait of Irène Cahen d'Anvers, how is the abstract discussed?

The Portrait of Irène Cahen d’Anvers, or The Little Girl with the Blue Ribbon (French: La Petite Fille au ruban bleu) or Little Irène (French: La Petite Irène), is an oil painting by French Impressionist artist Pierre-Auguste Renoir.Commissioned by the wealthy French Jewish banker Louis Cahen d'Anvers in 1880, the painting depicts his daughter Irène Cahen d'Anvers at the age of 8. During World War II, the painting was stolen by the Nazis during their organized looting of European countries. In 1946 it resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". In 2014, it appeared in the war film The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program.

Category:Portraits by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Portrait of Irène Cahen d'Anvers

Prompt: Focus on Portrait of Irène Cahen d'Anvers and explain the History.

In the 1870s-80s, Renoir frequently painted portraits for the families of the Parisian Jewish community. Through the collector Charles Ephrussi, proprietor of the Gazette des Beaux-Arts, Renoir met Louis Cahen d'Anvers. The Cahen d'Anvers family was one of the wealthiest Jewish banking families in Paris. In 1880, Louis Cahen d'Anvers commissioned two portraits of his three daughters, the eldest of whom was Irène. The younger daughters Alice and Elizabeth would become the subject of a later painting by Renoir, now commonly known as Pink and Blue.The Portrait of Irène Cahen d'Anvers, also commonly called Little Irene, is considered today as one of Renoir's masterpieces. At the time, for an unknown reason, Louis was so dissatisfied with the painting that he hung it in the servants' quarters and delayed Renoir's payment of 1500 francs.In 1883, the painting was first exhibited in the first exhibition dedicated exclusively to Renoir, held in Paul Durand-Ruel's Boulevard des Capucines gallery. In 1910 the painting was purchased by the wealthy Camondo family, into which Irène had married in 1891. After the fall of France, the painting was looted from Château de Chambord by the Nazis. Like many other important pieces of European art, it became a part of Hermann Göring's personal collection, Göring later traded the painting with Gustav Rochlitz for a Florentine Tondo. In 1946, Portrait of Irène Cahen d'Anvers resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". The painting along with dozens of other artwork stolen by the Nazis was later acquired by Emil Georg Bührle, a Swiss industrialist, art collector of German origin and CEO of the armaments company Oerlikon, a wartime supplier of the German military. The painting remains part of the E.G. Bührle Collection in Zürich.In 2014, it appeared in the movie The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program. In 2018, Little Irène gained popularity in Japan when it was exhibited in the National Art Center in Tokyo, as part of a series on Impressionist artworks on loan from the E.G. Bührle Collection.

Category:Portraits by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Portrait of Irène Cahen d'Anvers

Prompt: Explain the History of this artwork, Portrait of Irène Cahen d'Anvers.

In the 1870s-80s, Renoir frequently painted portraits for the families of the Parisian Jewish community. Through the collector Charles Ephrussi, proprietor of the Gazette des Beaux-Arts, Renoir met Louis Cahen d'Anvers. The Cahen d'Anvers family was one of the wealthiest Jewish banking families in Paris. In 1880, Louis Cahen d'Anvers commissioned two portraits of his three daughters, the eldest of whom was Irène. The younger daughters Alice and Elizabeth would become the subject of a later painting by Renoir, now commonly known as Pink and Blue.The Portrait of Irène Cahen d'Anvers, also commonly called Little Irene, is considered today as one of Renoir's masterpieces. At the time, for an unknown reason, Louis was so dissatisfied with the painting that he hung it in the servants' quarters and delayed Renoir's payment of 1500 francs.In 1883, the painting was first exhibited in the first exhibition dedicated exclusively to Renoir, held in Paul Durand-Ruel's Boulevard des Capucines gallery. In 1910 the painting was purchased by the wealthy Camondo family, into which Irène had married in 1891. After the fall of France, the painting was looted from Château de Chambord by the Nazis. Like many other important pieces of European art, it became a part of Hermann Göring's personal collection, Göring later traded the painting with Gustav Rochlitz for a Florentine Tondo. In 1946, Portrait of Irène Cahen d'Anvers resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". The painting along with dozens of other artwork stolen by the Nazis was later acquired by Emil Georg Bührle, a Swiss industrialist, art collector of German origin and CEO of the armaments company Oerlikon, a wartime supplier of the German military. The painting remains part of the E.G. Bührle Collection in Zürich.In 2014, it appeared in the movie The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program. In 2018, Little Irène gained popularity in Japan when it was exhibited in the National Art Center in Tokyo, as part of a series on Impressionist artworks on loan from the E.G. Bührle Collection.

Category:Portraits by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Portrait of Irène Cahen d'Anvers

Prompt: How does Portrait of Irène Cahen d'Anvers explain its History?

In the 1870s-80s, Renoir frequently painted portraits for the families of the Parisian Jewish community. Through the collector Charles Ephrussi, proprietor of the Gazette des Beaux-Arts, Renoir met Louis Cahen d'Anvers. The Cahen d'Anvers family was one of the wealthiest Jewish banking families in Paris. In 1880, Louis Cahen d'Anvers commissioned two portraits of his three daughters, the eldest of whom was Irène. The younger daughters Alice and Elizabeth would become the subject of a later painting by Renoir, now commonly known as Pink and Blue.The Portrait of Irène Cahen d'Anvers, also commonly called Little Irene, is considered today as one of Renoir's masterpieces. At the time, for an unknown reason, Louis was so dissatisfied with the painting that he hung it in the servants' quarters and delayed Renoir's payment of 1500 francs.In 1883, the painting was first exhibited in the first exhibition dedicated exclusively to Renoir, held in Paul Durand-Ruel's Boulevard des Capucines gallery. In 1910 the painting was purchased by the wealthy Camondo family, into which Irène had married in 1891. After the fall of France, the painting was looted from Château de Chambord by the Nazis. Like many other important pieces of European art, it became a part of Hermann Göring's personal collection, Göring later traded the painting with Gustav Rochlitz for a Florentine Tondo. In 1946, Portrait of Irène Cahen d'Anvers resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". The painting along with dozens of other artwork stolen by the Nazis was later acquired by Emil Georg Bührle, a Swiss industrialist, art collector of German origin and CEO of the armaments company Oerlikon, a wartime supplier of the German military. The painting remains part of the E.G. Bührle Collection in Zürich.In 2014, it appeared in the movie The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program. In 2018, Little Irène gained popularity in Japan when it was exhibited in the National Art Center in Tokyo, as part of a series on Impressionist artworks on loan from the E.G. Bührle Collection.

Category:Portraits by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Portrait of Irène Cahen d'Anvers

Prompt: In Portrait of Irène Cahen d'Anvers, how is the History discussed?

In the 1870s-80s, Renoir frequently painted portraits for the families of the Parisian Jewish community. Through the collector Charles Ephrussi, proprietor of the Gazette des Beaux-Arts, Renoir met Louis Cahen d'Anvers. The Cahen d'Anvers family was one of the wealthiest Jewish banking families in Paris. In 1880, Louis Cahen d'Anvers commissioned two portraits of his three daughters, the eldest of whom was Irène. The younger daughters Alice and Elizabeth would become the subject of a later painting by Renoir, now commonly known as Pink and Blue.The Portrait of Irène Cahen d'Anvers, also commonly called Little Irene, is considered today as one of Renoir's masterpieces. At the time, for an unknown reason, Louis was so dissatisfied with the painting that he hung it in the servants' quarters and delayed Renoir's payment of 1500 francs.In 1883, the painting was first exhibited in the first exhibition dedicated exclusively to Renoir, held in Paul Durand-Ruel's Boulevard des Capucines gallery. In 1910 the painting was purchased by the wealthy Camondo family, into which Irène had married in 1891. After the fall of France, the painting was looted from Château de Chambord by the Nazis. Like many other important pieces of European art, it became a part of Hermann Göring's personal collection, Göring later traded the painting with Gustav Rochlitz for a Florentine Tondo. In 1946, Portrait of Irène Cahen d'Anvers resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". The painting along with dozens of other artwork stolen by the Nazis was later acquired by Emil Georg Bührle, a Swiss industrialist, art collector of German origin and CEO of the armaments company Oerlikon, a wartime supplier of the German military. The painting remains part of the E.G. Bührle Collection in Zürich.In 2014, it appeared in the movie The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program. In 2018, Little Irène gained popularity in Japan when it was exhibited in the National Art Center in Tokyo, as part of a series on Impressionist artworks on loan from the E.G. Bührle Collection.

Category:Portraits by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Portrait of Irène Cahen d'Anvers

Prompt: Focus on Portrait of Irène Cahen d'Anvers and explain the Irène Cahen d’Anvers.

Irène Cahen d’Anvers (1872–1963), the subject of this painting, was 8 years old at the time of the portrait. The eldest daughter of the wealthy Jewish French banker Count Louis Cahen d'Anvers, she married Count Moïse de Camondo in 1891, aged 19. They separated in August 1897 after her affair with de Camondo's stable master, Count Charles Sampieri (1863-1930), whom she would later marry and divorce. Irène had two children with de Camondo, Nissim and Béatrice. During World War I Nissim became a fighter pilot of the French Air Force and was killed in action in 1917 over Lorraine. In 1935, Moïse de Camondo bequeathed his Parisian mansion, at 63 rue de Monceau, including its contents and a major collection of art, to the Musée des Arts Décoratifs to be used to create the Musée Nissim de Camondo in honour of his and Irène's son. During World War II, Béatrice, her ex-husband Leon Reinach and their two children were murdered by the Nazis in Auschwitz because of their Jewish ancestry. Irène spent the war in hiding in Paris (apartment rue de la Tour) using her Italian name and passport. As her daughter Béatrice's sole inheritor, Irène received the large de Camondo fortune, that she would squander in the casinos of the French Riviera. Irène also had a daughter with Sampieri, Claude Germaine (1903-1995), who would marry the French fighter ace and race car driver André Dubonnet. Irène lived until 1963 and died in Paris, aged 91.

Category:Portraits by Pierre-Auguste Renoir

Monuments, Fine Arts, and Archives program

List of paintings by Pierre-Auguste Renoir


Portrait of Irène Cahen d'Anvers

Prompt: Explain the Irène Cahen d’Anvers of this artwork, Portrait of Irène Cahen d'Anvers.

Irène Cahen d’Anvers (1872–1963), the subject of this painting, was 8 years old at the time of the portrait. The eldest daughter of the wealthy Jewish French banker Count Louis Cahen d'Anvers, she married Count Moïse de Camondo in 1891, aged 19. They separated in August 1897 after her affair with de Camondo's stable master, Count Charles Sampieri (1863-1930), whom she would later marry and divorce. Irène had two children with de Camondo, Nissim and Béatrice. During World War I Nissim became a fighter pilot of the French Air Force and was killed in action in 1917 over Lorraine. In 1935, Moïse de Camondo bequeathed his Parisian mansion, at 63 rue de Monceau, including its contents and a major collection of art, to the Musée des Arts Décoratifs to be used to create the Musée Nissim de Camondo in honour of his and Irène's son. During World War II, Béatrice, her ex-husband Leon Reinach and their two children were murdered by the Nazis in Auschwitz because of their Jewish ancestry. Irène spent the war in hiding in Paris (apartment rue de la Tour) using her Italian name and passport. As her daughter Béatrice's sole inheritor, Irène received the large de Camondo fortune, that she would squander in the casinos of the French Riviera. Irène also had a daughter with Sampieri, Claude Germaine (1903-1995), who would marry the French fighter ace and race car driver André Dubonnet. Irène lived until 1963 and died in Paris, aged 91.

Category:Portraits by Pierre-Auguste Renoir

Monuments, Fine Arts, and Archives program

List of paintings by Pierre-Auguste Renoir


Portrait of Irène Cahen d'Anvers

Prompt: How does Portrait of Irène Cahen d'Anvers explain its Irène Cahen d’Anvers?

Irène Cahen d’Anvers (1872–1963), the subject of this painting, was 8 years old at the time of the portrait. The eldest daughter of the wealthy Jewish French banker Count Louis Cahen d'Anvers, she married Count Moïse de Camondo in 1891, aged 19. They separated in August 1897 after her affair with de Camondo's stable master, Count Charles Sampieri (1863-1930), whom she would later marry and divorce. Irène had two children with de Camondo, Nissim and Béatrice. During World War I Nissim became a fighter pilot of the French Air Force and was killed in action in 1917 over Lorraine. In 1935, Moïse de Camondo bequeathed his Parisian mansion, at 63 rue de Monceau, including its contents and a major collection of art, to the Musée des Arts Décoratifs to be used to create the Musée Nissim de Camondo in honour of his and Irène's son. During World War II, Béatrice, her ex-husband Leon Reinach and their two children were murdered by the Nazis in Auschwitz because of their Jewish ancestry. Irène spent the war in hiding in Paris (apartment rue de la Tour) using her Italian name and passport. As her daughter Béatrice's sole inheritor, Irène received the large de Camondo fortune, that she would squander in the casinos of the French Riviera. Irène also had a daughter with Sampieri, Claude Germaine (1903-1995), who would marry the French fighter ace and race car driver André Dubonnet. Irène lived until 1963 and died in Paris, aged 91.

Category:Portraits by Pierre-Auguste Renoir

Monuments, Fine Arts, and Archives program

List of paintings by Pierre-Auguste Renoir


Portrait of Irène Cahen d'Anvers

Prompt: In Portrait of Irène Cahen d'Anvers, how is the Irène Cahen d’Anvers discussed?

Irène Cahen d’Anvers (1872–1963), the subject of this painting, was 8 years old at the time of the portrait. The eldest daughter of the wealthy Jewish French banker Count Louis Cahen d'Anvers, she married Count Moïse de Camondo in 1891, aged 19. They separated in August 1897 after her affair with de Camondo's stable master, Count Charles Sampieri (1863-1930), whom she would later marry and divorce. Irène had two children with de Camondo, Nissim and Béatrice. During World War I Nissim became a fighter pilot of the French Air Force and was killed in action in 1917 over Lorraine. In 1935, Moïse de Camondo bequeathed his Parisian mansion, at 63 rue de Monceau, including its contents and a major collection of art, to the Musée des Arts Décoratifs to be used to create the Musée Nissim de Camondo in honour of his and Irène's son. During World War II, Béatrice, her ex-husband Leon Reinach and their two children were murdered by the Nazis in Auschwitz because of their Jewish ancestry. Irène spent the war in hiding in Paris (apartment rue de la Tour) using her Italian name and passport. As her daughter Béatrice's sole inheritor, Irène received the large de Camondo fortune, that she would squander in the casinos of the French Riviera. Irène also had a daughter with Sampieri, Claude Germaine (1903-1995), who would marry the French fighter ace and race car driver André Dubonnet. Irène lived until 1963 and died in Paris, aged 91.

Category:Portraits by Pierre-Auguste Renoir

Monuments, Fine Arts, and Archives program

List of paintings by Pierre-Auguste Renoir


A Dance to the Music of Time (painting)

Prompt: Focus on A Dance to the Music of Time (painting) and explain the abstract.

A Dance to the Music of Time is a painting by Nicolas Poussin in the Wallace Collection in London. It was painted between c. 1634 and 1636 as a commission for Giulio Rospigliosi (later Pope Clement IX), who according to Gian Pietro Bellori dictated its detailed iconography. The identity of the figures remains uncertain, with differing accounts.The painting is well known for giving its name to the A Dance to the Music of Time novel cycle, though this title is first seen in a Wallace Collection catalogue of 1913. Before that it was given titles referring to the Four Seasons. In the 1845 sale it was called La Danse des Saisons, ou l'Image de la vie humaine. The Bibliothèque nationale de France lists it with three different French titles.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: Explain the abstract of this artwork, A Dance to the Music of Time (painting).

A Dance to the Music of Time is a painting by Nicolas Poussin in the Wallace Collection in London. It was painted between c. 1634 and 1636 as a commission for Giulio Rospigliosi (later Pope Clement IX), who according to Gian Pietro Bellori dictated its detailed iconography. The identity of the figures remains uncertain, with differing accounts.The painting is well known for giving its name to the A Dance to the Music of Time novel cycle, though this title is first seen in a Wallace Collection catalogue of 1913. Before that it was given titles referring to the Four Seasons. In the 1845 sale it was called La Danse des Saisons, ou l'Image de la vie humaine. The Bibliothèque nationale de France lists it with three different French titles.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: How does A Dance to the Music of Time (painting) explain its abstract?

A Dance to the Music of Time is a painting by Nicolas Poussin in the Wallace Collection in London. It was painted between c. 1634 and 1636 as a commission for Giulio Rospigliosi (later Pope Clement IX), who according to Gian Pietro Bellori dictated its detailed iconography. The identity of the figures remains uncertain, with differing accounts.The painting is well known for giving its name to the A Dance to the Music of Time novel cycle, though this title is first seen in a Wallace Collection catalogue of 1913. Before that it was given titles referring to the Four Seasons. In the 1845 sale it was called La Danse des Saisons, ou l'Image de la vie humaine. The Bibliothèque nationale de France lists it with three different French titles.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: In A Dance to the Music of Time (painting), how is the abstract discussed?

A Dance to the Music of Time is a painting by Nicolas Poussin in the Wallace Collection in London. It was painted between c. 1634 and 1636 as a commission for Giulio Rospigliosi (later Pope Clement IX), who according to Gian Pietro Bellori dictated its detailed iconography. The identity of the figures remains uncertain, with differing accounts.The painting is well known for giving its name to the A Dance to the Music of Time novel cycle, though this title is first seen in a Wallace Collection catalogue of 1913. Before that it was given titles referring to the Four Seasons. In the 1845 sale it was called La Danse des Saisons, ou l'Image de la vie humaine. The Bibliothèque nationale de France lists it with three different French titles.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: Focus on A Dance to the Music of Time (painting) and explain the Description.

There are four figures, holding each other by the hand, dancing in a circle, as Time plays a lyre on the right.  The scene is set in the early morning, with Aurora, goddess of dawn, preceding the chariot of Apollo the sun-god in the sky behind; the Hours accompany him and he holds a ring representing the Zodiac.According to Bellori, the subject was devised by Rospigliosi. The four dancers represented, beginning with the one at the back seen mostly from behind: Poverty, Labour, Riches, and Pleasure or Luxury. These represent a progression in human life, completed by Pleasure or Luxury leading to Poverty again. As the Four Seasons Poverty would be Autumn, Labour Winter, and so on. The suggestion of Anthony Blunt that, unusually for a group of the seasons, Autumn/Poverty at the rear of the group was male is now generally accepted, and the museum now describe him as Bacchus. This follows the story invented by Boitet de Frauville in his Les Dionysiaques that, responding to complaints from the Seasons and Time, Jupiter gave the world Bacchus and his wine in order to compensate for the miserable living conditions mortals must endure.  André Félibien, the friend and biographer of Poussin, explained the picture in the same terms, except that where Bellori identified Summer with Luxury, Félibien said that it represented Pleasure.These identifications are disputed by Malcolm Bull, at least as the original intention. He traces the iconography of the painting to the Late Greek poet Nonnus, reflected in the Hymne de l'Automme of Pierre de Ronsard. Nonnus' descriptions of the four seasons, as translated into French, are closely followed by Poussin: "on the left is Spring, with a garland of roses in her hair; at the back is Autumn, whose hair has been cropped by the winds but whose brow is wreathed with olive branches; Winter is next, with her bound hair and shadowed face, and at the front is Summer, dressed in white with ears of corn in the braids of her hair."  Bacchus himself appears, in his double aspect as a young and old figure, in the herma at left. Bull suggests that Rospigliosi, an intellectual and author with a taste for allegory, invented the other interpretation "during or after its completion", while Ingamells feels that "Poussin was not unduly concerned with the precise identification of the figures".There are several pentimenti, including the removal of a second, larger, tree on the right between Winter/Labour and Time.The painting is in generally good condition, but has been retouched in places, including over the repair of a large L-shaped tear running right through the central group.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857