The Mystical Nativity

Prompt: How does The Mystical Nativity explain its Later history?

Botticelli died in 1510. The Mystical Nativity remained little known for another three centuries. Rome at the end of the 18th century was very different to Renaissance Florence – except for the presence of French invaders. Many foreigners left, but not a young Englishman, William Young Ottley. He was an art lover, and wealthy with a slave plantation in the Caribbean. He bought up many paintings cheaply. At the Villa Aldobrandini he saw a small, unknown work, Botticelli's Mystical Nativity. Botticelli was then in obscurity.It arrived in London where Ottley's house became in effect a private museum of Italian masterpieces. After Ottley's death William Fuller Maitland of Stansted picked up the painting at an auction for £80. When he loaned it to the Art Treasures Exhibition, Manchester 1857, it was probably exposed to a wide public for the first time. The exhibition's newspaper the Art Treasures Examiner printed a reproduction of it.From the moment Botticelli's art is shown in Manchester there's a real change in opinion about his work and certainly by the late 1870s, 1880s Botticelli becomes a real cult figure – somebody the artists who aspire to be on the cutting edge of the art world are looking to...Dante Gabriel Rossetti and Edward Burne-Jones both adapted elements of it for their own work. Burne-Jones copied some of Botticelli's illustrations for Dante's Divine Comedy into his own sketchbooks. Rossetti demonstrated his affection for Botticelli's work by buying his portrait of Smeralda Bandinelli in 1867.John Ruskin helped to give the painting its name; after seeing it in London he referred to Botticelli's 'mystic symbolism'. When Maitland died in 1876 the National Gallery in London stepped in. According to Nicholas Penny the Gallery "was concerned to buy works from the earlier Renaissance – previously it had been its top priority to buy masterpieces which there would be no controversy about at all. There was an element of avant-garde excitement about buying pictures like this in the 19th century." When the Gallery bought the painting in 1878, it had to find £1,500, nearly 20 times what it had fetched just thirty years earlier.

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London


The Mystical Nativity

Prompt: In The Mystical Nativity, how is the Later history discussed?

Botticelli died in 1510. The Mystical Nativity remained little known for another three centuries. Rome at the end of the 18th century was very different to Renaissance Florence – except for the presence of French invaders. Many foreigners left, but not a young Englishman, William Young Ottley. He was an art lover, and wealthy with a slave plantation in the Caribbean. He bought up many paintings cheaply. At the Villa Aldobrandini he saw a small, unknown work, Botticelli's Mystical Nativity. Botticelli was then in obscurity.It arrived in London where Ottley's house became in effect a private museum of Italian masterpieces. After Ottley's death William Fuller Maitland of Stansted picked up the painting at an auction for £80. When he loaned it to the Art Treasures Exhibition, Manchester 1857, it was probably exposed to a wide public for the first time. The exhibition's newspaper the Art Treasures Examiner printed a reproduction of it.From the moment Botticelli's art is shown in Manchester there's a real change in opinion about his work and certainly by the late 1870s, 1880s Botticelli becomes a real cult figure – somebody the artists who aspire to be on the cutting edge of the art world are looking to...Dante Gabriel Rossetti and Edward Burne-Jones both adapted elements of it for their own work. Burne-Jones copied some of Botticelli's illustrations for Dante's Divine Comedy into his own sketchbooks. Rossetti demonstrated his affection for Botticelli's work by buying his portrait of Smeralda Bandinelli in 1867.John Ruskin helped to give the painting its name; after seeing it in London he referred to Botticelli's 'mystic symbolism'. When Maitland died in 1876 the National Gallery in London stepped in. According to Nicholas Penny the Gallery "was concerned to buy works from the earlier Renaissance – previously it had been its top priority to buy masterpieces which there would be no controversy about at all. There was an element of avant-garde excitement about buying pictures like this in the 19th century." When the Gallery bought the painting in 1878, it had to find £1,500, nearly 20 times what it had fetched just thirty years earlier.

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London


The Procuress (Vermeer)

Prompt: Focus on The Procuress (Vermeer) and explain the abstract.

The Procuress (Dutch: De koppelaarster) is a 1656 oil-on-canvas painting by the then 24-year-old Johannes Vermeer. It can be seen in the Gemäldegalerie Alte Meister in Dresden. It is his first genre painting and shows a scene of contemporary life, an image of mercenary love perhaps in a brothel. It differs from his earlier biblical and mythological scenes. It is one of only three paintings Vermeer signed and dated (the other two are The Astronomer and The Geographer). In 1696 the painting, being sold on an auction in Amsterdam, was named "A merry company in a room". The woman in black, the leering coupler, "in a nun's costume",: 224  could be the eponymous procuress, while the man to her right, "wearing a black beret and a doublet with slashed sleeves",: 172  has been identified as a self portrait of the artist; there is a resemblance with the painter in Vermeer's The Art of Painting.It seems Vermeer was influenced by earlier works on the same subject by Gerard ter Borch, and The Procuress (c. 1622) by Dirck van Baburen, which was owned by Vermeer's mother-in-law Maria Thins and hung in her home. Some critics thought the painting is atypical of Vermeer's style and expression, because it lacks the typical light. Pieter Swillens wrote in 1950 that—if the work was by Vermeer at all—it showed the artist "seeking and groping" to find a suitable mode of expression. Eduard Trautscholdt wrote 10 years before that "The temperament of the 24-year-old Vermeer fully emerges for the first time".The jug on the oriental rug is a piece of Westerwald Pottery. The kelim thrown over a bannister, probably produced in Uşak, covers a third of the painting and shows medallions and leaves. The instrument is probably a cittern. The dark coat with five buttons was added by Vermeer in a later stage. The man in the red jacket, a soldier, is fondling the young woman's breast and dropping a coin into her outstretched hand. According to Benjamin Binstock, this "dark and gloomy" painting could be understood as a psychological portrait of his adopted family: 81  and does not represent a didactic message.: 123, 85  Binstock says Vermeer used his family as models; the procuress could be Vermeer's wife Catherina: 231  and the lewd soldier her brother Willem.: 81–82

Category:Collection of the Gemäldegalerie Alte Meister

Category:Genre paintings by Johannes Vermeer


The Procuress (Vermeer)

Prompt: Explain the abstract of this artwork, The Procuress (Vermeer).

The Procuress (Dutch: De koppelaarster) is a 1656 oil-on-canvas painting by the then 24-year-old Johannes Vermeer. It can be seen in the Gemäldegalerie Alte Meister in Dresden. It is his first genre painting and shows a scene of contemporary life, an image of mercenary love perhaps in a brothel. It differs from his earlier biblical and mythological scenes. It is one of only three paintings Vermeer signed and dated (the other two are The Astronomer and The Geographer). In 1696 the painting, being sold on an auction in Amsterdam, was named "A merry company in a room". The woman in black, the leering coupler, "in a nun's costume",: 224  could be the eponymous procuress, while the man to her right, "wearing a black beret and a doublet with slashed sleeves",: 172  has been identified as a self portrait of the artist; there is a resemblance with the painter in Vermeer's The Art of Painting.It seems Vermeer was influenced by earlier works on the same subject by Gerard ter Borch, and The Procuress (c. 1622) by Dirck van Baburen, which was owned by Vermeer's mother-in-law Maria Thins and hung in her home. Some critics thought the painting is atypical of Vermeer's style and expression, because it lacks the typical light. Pieter Swillens wrote in 1950 that—if the work was by Vermeer at all—it showed the artist "seeking and groping" to find a suitable mode of expression. Eduard Trautscholdt wrote 10 years before that "The temperament of the 24-year-old Vermeer fully emerges for the first time".The jug on the oriental rug is a piece of Westerwald Pottery. The kelim thrown over a bannister, probably produced in Uşak, covers a third of the painting and shows medallions and leaves. The instrument is probably a cittern. The dark coat with five buttons was added by Vermeer in a later stage. The man in the red jacket, a soldier, is fondling the young woman's breast and dropping a coin into her outstretched hand. According to Benjamin Binstock, this "dark and gloomy" painting could be understood as a psychological portrait of his adopted family: 81  and does not represent a didactic message.: 123, 85  Binstock says Vermeer used his family as models; the procuress could be Vermeer's wife Catherina: 231  and the lewd soldier her brother Willem.: 81–82

Category:Collection of the Gemäldegalerie Alte Meister

Category:Genre paintings by Johannes Vermeer


The Procuress (Vermeer)

Prompt: How does The Procuress (Vermeer) explain its abstract?

The Procuress (Dutch: De koppelaarster) is a 1656 oil-on-canvas painting by the then 24-year-old Johannes Vermeer. It can be seen in the Gemäldegalerie Alte Meister in Dresden. It is his first genre painting and shows a scene of contemporary life, an image of mercenary love perhaps in a brothel. It differs from his earlier biblical and mythological scenes. It is one of only three paintings Vermeer signed and dated (the other two are The Astronomer and The Geographer). In 1696 the painting, being sold on an auction in Amsterdam, was named "A merry company in a room". The woman in black, the leering coupler, "in a nun's costume",: 224  could be the eponymous procuress, while the man to her right, "wearing a black beret and a doublet with slashed sleeves",: 172  has been identified as a self portrait of the artist; there is a resemblance with the painter in Vermeer's The Art of Painting.It seems Vermeer was influenced by earlier works on the same subject by Gerard ter Borch, and The Procuress (c. 1622) by Dirck van Baburen, which was owned by Vermeer's mother-in-law Maria Thins and hung in her home. Some critics thought the painting is atypical of Vermeer's style and expression, because it lacks the typical light. Pieter Swillens wrote in 1950 that—if the work was by Vermeer at all—it showed the artist "seeking and groping" to find a suitable mode of expression. Eduard Trautscholdt wrote 10 years before that "The temperament of the 24-year-old Vermeer fully emerges for the first time".The jug on the oriental rug is a piece of Westerwald Pottery. The kelim thrown over a bannister, probably produced in Uşak, covers a third of the painting and shows medallions and leaves. The instrument is probably a cittern. The dark coat with five buttons was added by Vermeer in a later stage. The man in the red jacket, a soldier, is fondling the young woman's breast and dropping a coin into her outstretched hand. According to Benjamin Binstock, this "dark and gloomy" painting could be understood as a psychological portrait of his adopted family: 81  and does not represent a didactic message.: 123, 85  Binstock says Vermeer used his family as models; the procuress could be Vermeer's wife Catherina: 231  and the lewd soldier her brother Willem.: 81–82

Category:Collection of the Gemäldegalerie Alte Meister

Category:Genre paintings by Johannes Vermeer


The Procuress (Vermeer)

Prompt: In The Procuress (Vermeer), how is the abstract discussed?

The Procuress (Dutch: De koppelaarster) is a 1656 oil-on-canvas painting by the then 24-year-old Johannes Vermeer. It can be seen in the Gemäldegalerie Alte Meister in Dresden. It is his first genre painting and shows a scene of contemporary life, an image of mercenary love perhaps in a brothel. It differs from his earlier biblical and mythological scenes. It is one of only three paintings Vermeer signed and dated (the other two are The Astronomer and The Geographer). In 1696 the painting, being sold on an auction in Amsterdam, was named "A merry company in a room". The woman in black, the leering coupler, "in a nun's costume",: 224  could be the eponymous procuress, while the man to her right, "wearing a black beret and a doublet with slashed sleeves",: 172  has been identified as a self portrait of the artist; there is a resemblance with the painter in Vermeer's The Art of Painting.It seems Vermeer was influenced by earlier works on the same subject by Gerard ter Borch, and The Procuress (c. 1622) by Dirck van Baburen, which was owned by Vermeer's mother-in-law Maria Thins and hung in her home. Some critics thought the painting is atypical of Vermeer's style and expression, because it lacks the typical light. Pieter Swillens wrote in 1950 that—if the work was by Vermeer at all—it showed the artist "seeking and groping" to find a suitable mode of expression. Eduard Trautscholdt wrote 10 years before that "The temperament of the 24-year-old Vermeer fully emerges for the first time".The jug on the oriental rug is a piece of Westerwald Pottery. The kelim thrown over a bannister, probably produced in Uşak, covers a third of the painting and shows medallions and leaves. The instrument is probably a cittern. The dark coat with five buttons was added by Vermeer in a later stage. The man in the red jacket, a soldier, is fondling the young woman's breast and dropping a coin into her outstretched hand. According to Benjamin Binstock, this "dark and gloomy" painting could be understood as a psychological portrait of his adopted family: 81  and does not represent a didactic message.: 123, 85  Binstock says Vermeer used his family as models; the procuress could be Vermeer's wife Catherina: 231  and the lewd soldier her brother Willem.: 81–82

Category:Collection of the Gemäldegalerie Alte Meister

Category:Genre paintings by Johannes Vermeer


The Procuress (Vermeer)

Prompt: Focus on The Procuress (Vermeer) and explain the Provenance and exhibitions.

The painting was in the Waldstein collection in Dux (now Duchcov), then bought in 1741 for August III of Poland, the Elector of Saxony.The painting was exhibited in 1980 at the Restaurierte Kunstwerke in der Deutschen Demokratischen Republic exhibit in the Staatliche Museen zu Berlin, Altes Museum.This painting should not be confused with another painting by the same name, by Dirck van Baburen, nor with a fake version once attributed to Vermeer, of which technical analysis in 2011 revealed that there is Bakelite in the paint, definitively proving that the painting is a modern forgery. It was most probably executed by the notorious forger, Han van Meegeren, who was responsible for producing several fake Vermeers and known to use said resin to harden the paint.

Category:Collection of the Gemäldegalerie Alte Meister

Category:Genre paintings by Johannes Vermeer


The Procuress (Vermeer)

Prompt: Explain the Provenance and exhibitions of this artwork, The Procuress (Vermeer).

The painting was in the Waldstein collection in Dux (now Duchcov), then bought in 1741 for August III of Poland, the Elector of Saxony.The painting was exhibited in 1980 at the Restaurierte Kunstwerke in der Deutschen Demokratischen Republic exhibit in the Staatliche Museen zu Berlin, Altes Museum.This painting should not be confused with another painting by the same name, by Dirck van Baburen, nor with a fake version once attributed to Vermeer, of which technical analysis in 2011 revealed that there is Bakelite in the paint, definitively proving that the painting is a modern forgery. It was most probably executed by the notorious forger, Han van Meegeren, who was responsible for producing several fake Vermeers and known to use said resin to harden the paint.

Category:Collection of the Gemäldegalerie Alte Meister

Category:Genre paintings by Johannes Vermeer


The Procuress (Vermeer)

Prompt: How does The Procuress (Vermeer) explain its Provenance and exhibitions?

The painting was in the Waldstein collection in Dux (now Duchcov), then bought in 1741 for August III of Poland, the Elector of Saxony.The painting was exhibited in 1980 at the Restaurierte Kunstwerke in der Deutschen Demokratischen Republic exhibit in the Staatliche Museen zu Berlin, Altes Museum.This painting should not be confused with another painting by the same name, by Dirck van Baburen, nor with a fake version once attributed to Vermeer, of which technical analysis in 2011 revealed that there is Bakelite in the paint, definitively proving that the painting is a modern forgery. It was most probably executed by the notorious forger, Han van Meegeren, who was responsible for producing several fake Vermeers and known to use said resin to harden the paint.

Category:Collection of the Gemäldegalerie Alte Meister

Category:Genre paintings by Johannes Vermeer


The Procuress (Vermeer)

Prompt: In The Procuress (Vermeer), how is the Provenance and exhibitions discussed?

The painting was in the Waldstein collection in Dux (now Duchcov), then bought in 1741 for August III of Poland, the Elector of Saxony.The painting was exhibited in 1980 at the Restaurierte Kunstwerke in der Deutschen Demokratischen Republic exhibit in the Staatliche Museen zu Berlin, Altes Museum.This painting should not be confused with another painting by the same name, by Dirck van Baburen, nor with a fake version once attributed to Vermeer, of which technical analysis in 2011 revealed that there is Bakelite in the paint, definitively proving that the painting is a modern forgery. It was most probably executed by the notorious forger, Han van Meegeren, who was responsible for producing several fake Vermeers and known to use said resin to harden the paint.

Category:Collection of the Gemäldegalerie Alte Meister

Category:Genre paintings by Johannes Vermeer


The Procuress (Vermeer)

Prompt: Focus on The Procuress (Vermeer) and explain the Painting materials.

The technical investigation of this painting was done in 1968 by Hermann Kühn. The pigment analysis revealed Vermeer's use of his usual pigments such as ultramarine in the blue wine jug and lead-tin-yellow in the jacket of the woman. He also employed smalt in the green parts of the tablecloth and in the greenish background which is less usual for him.

Category:Collection of the Gemäldegalerie Alte Meister

Category:Genre paintings by Johannes Vermeer


The Procuress (Vermeer)

Prompt: Explain the Painting materials of this artwork, The Procuress (Vermeer).

The technical investigation of this painting was done in 1968 by Hermann Kühn. The pigment analysis revealed Vermeer's use of his usual pigments such as ultramarine in the blue wine jug and lead-tin-yellow in the jacket of the woman. He also employed smalt in the green parts of the tablecloth and in the greenish background which is less usual for him.

Category:Collection of the Gemäldegalerie Alte Meister

Category:Genre paintings by Johannes Vermeer


The Procuress (Vermeer)

Prompt: How does The Procuress (Vermeer) explain its Painting materials?

The technical investigation of this painting was done in 1968 by Hermann Kühn. The pigment analysis revealed Vermeer's use of his usual pigments such as ultramarine in the blue wine jug and lead-tin-yellow in the jacket of the woman. He also employed smalt in the green parts of the tablecloth and in the greenish background which is less usual for him.

Category:Collection of the Gemäldegalerie Alte Meister

Category:Genre paintings by Johannes Vermeer


The Procuress (Vermeer)

Prompt: In The Procuress (Vermeer), how is the Painting materials discussed?

The technical investigation of this painting was done in 1968 by Hermann Kühn. The pigment analysis revealed Vermeer's use of his usual pigments such as ultramarine in the blue wine jug and lead-tin-yellow in the jacket of the woman. He also employed smalt in the green parts of the tablecloth and in the greenish background which is less usual for him.

Category:Collection of the Gemäldegalerie Alte Meister

Category:Genre paintings by Johannes Vermeer


Madonna della Vittoria

Prompt: Focus on Madonna della Vittoria and explain the abstract.

The Madonna della Vittoria is a painting by the Italian Renaissance painter Andrea Mantegna; the painting was executed in 1496.

Category:Paintings of the Madonna and Child by Andrea Mantegna

File:Mantegna, madonna della vittoria, dettaglio 03, francesco Gonzaga.jpg

Category:Paintings of Michael (archangel)

Category:Paintings in the Louvre by Italian artists

File:Mantegna, madonna della vittoria, dettaglio 01.jpg

Category:Paintings of Saint George (martyr)

Category:Paintings of Andrew the Apostle

Category:Paintings of Elizabeth (biblical figure)


Madonna della Vittoria

Prompt: Explain the abstract of this artwork, Madonna della Vittoria.

The Madonna della Vittoria is a painting by the Italian Renaissance painter Andrea Mantegna; the painting was executed in 1496.

Category:Paintings of the Madonna and Child by Andrea Mantegna

File:Mantegna, madonna della vittoria, dettaglio 03, francesco Gonzaga.jpg

Category:Paintings of Michael (archangel)

Category:Paintings in the Louvre by Italian artists

File:Mantegna, madonna della vittoria, dettaglio 01.jpg

Category:Paintings of Saint George (martyr)

Category:Paintings of Andrew the Apostle

Category:Paintings of Elizabeth (biblical figure)


Madonna della Vittoria

Prompt: How does Madonna della Vittoria explain its abstract?

The Madonna della Vittoria is a painting by the Italian Renaissance painter Andrea Mantegna; the painting was executed in 1496.

Category:Paintings of the Madonna and Child by Andrea Mantegna

File:Mantegna, madonna della vittoria, dettaglio 03, francesco Gonzaga.jpg

Category:Paintings of Michael (archangel)

Category:Paintings in the Louvre by Italian artists

File:Mantegna, madonna della vittoria, dettaglio 01.jpg

Category:Paintings of Saint George (martyr)

Category:Paintings of Andrew the Apostle

Category:Paintings of Elizabeth (biblical figure)


Madonna della Vittoria

Prompt: In Madonna della Vittoria, how is the abstract discussed?

The Madonna della Vittoria is a painting by the Italian Renaissance painter Andrea Mantegna; the painting was executed in 1496.

Category:Paintings of the Madonna and Child by Andrea Mantegna

File:Mantegna, madonna della vittoria, dettaglio 03, francesco Gonzaga.jpg

Category:Paintings of Michael (archangel)

Category:Paintings in the Louvre by Italian artists

File:Mantegna, madonna della vittoria, dettaglio 01.jpg

Category:Paintings of Saint George (martyr)

Category:Paintings of Andrew the Apostle

Category:Paintings of Elizabeth (biblical figure)


Madonna della Vittoria

Prompt: Focus on Madonna della Vittoria and explain the History.

On 6 July 1495 the French army of Charles VIII of France, retreating from Italy after the French Invasion of 1494-1498, fought the Italic League at the Battle of Fornovo.  The League, commanded by Francesco II Gonzaga, Marquess of Mantua, was made up of numerous nation-states determined to prevent French dominance in Italy, and included the Holy Roman Empire, Spain, Venice, Milan, and the Papal States controlled by Pope Alexander VI. Despite the League failing in its goal to destroy the French army, taking more casualties at Fornovo, and allowing Charles VIII to retreat back to France with his army intact, Francesco claimed victory. As a sign of his self-proclaimed victory at Fornovo, he commissioned Mantegna to paint the Madonna della Vittoria.During Francesco's absence from Mantua, Daniele da Norsa, a Jewish banker, had purchased a house in the city's San Simone quarter and replaced the image of the Virgin Mary which decorated its façade with his own coat of arms. The regent, Sigismondo Gonzaga, ordered him to restore the depiction. Although Daniele agreed to do so, the populace, inflamed by anti-semitic feeling, destroyed his house.When Francesco returned, he forced Daniele to fund a chapel and a devotional painting. The painting was to be executed by the Mantuan court painter, Mantegna, and was inaugurated in 1496 on the anniversary of the duke's victory at Fornovo. The work was placed in the church of Santa Maria della Vittoria, which had been constructed over the ruins of Daniele da Norsa's house.The painting was one of the artworks looted by the French during the Napoleonic invasion of Italy, and by 1798 was being exhibited in the Louvre. The painting was never returned; the given excuse was that its large size made the transport difficult. The presence of a sulphur-crested cockatoo in the painting is considered as evidence of Arab trade in the Australasian region which dates all the way to when one such bird was gifted from Sultan al-Kamil to Frederick II in the 1240s.

Category:Paintings of the Madonna and Child by Andrea Mantegna

File:Mantegna, madonna della vittoria, dettaglio 03, francesco Gonzaga.jpg

Category:Paintings of Michael (archangel)

Category:Paintings in the Louvre by Italian artists

File:Mantegna, madonna della vittoria, dettaglio 01.jpg

Category:Paintings of Saint George (martyr)

Category:Paintings of Andrew the Apostle

Category:Paintings of Elizabeth (biblical figure)


Madonna della Vittoria

Prompt: Explain the History of this artwork, Madonna della Vittoria.

On 6 July 1495 the French army of Charles VIII of France, retreating from Italy after the French Invasion of 1494-1498, fought the Italic League at the Battle of Fornovo.  The League, commanded by Francesco II Gonzaga, Marquess of Mantua, was made up of numerous nation-states determined to prevent French dominance in Italy, and included the Holy Roman Empire, Spain, Venice, Milan, and the Papal States controlled by Pope Alexander VI. Despite the League failing in its goal to destroy the French army, taking more casualties at Fornovo, and allowing Charles VIII to retreat back to France with his army intact, Francesco claimed victory. As a sign of his self-proclaimed victory at Fornovo, he commissioned Mantegna to paint the Madonna della Vittoria.During Francesco's absence from Mantua, Daniele da Norsa, a Jewish banker, had purchased a house in the city's San Simone quarter and replaced the image of the Virgin Mary which decorated its façade with his own coat of arms. The regent, Sigismondo Gonzaga, ordered him to restore the depiction. Although Daniele agreed to do so, the populace, inflamed by anti-semitic feeling, destroyed his house.When Francesco returned, he forced Daniele to fund a chapel and a devotional painting. The painting was to be executed by the Mantuan court painter, Mantegna, and was inaugurated in 1496 on the anniversary of the duke's victory at Fornovo. The work was placed in the church of Santa Maria della Vittoria, which had been constructed over the ruins of Daniele da Norsa's house.The painting was one of the artworks looted by the French during the Napoleonic invasion of Italy, and by 1798 was being exhibited in the Louvre. The painting was never returned; the given excuse was that its large size made the transport difficult. The presence of a sulphur-crested cockatoo in the painting is considered as evidence of Arab trade in the Australasian region which dates all the way to when one such bird was gifted from Sultan al-Kamil to Frederick II in the 1240s.

Category:Paintings of the Madonna and Child by Andrea Mantegna

File:Mantegna, madonna della vittoria, dettaglio 03, francesco Gonzaga.jpg

Category:Paintings of Michael (archangel)

Category:Paintings in the Louvre by Italian artists

File:Mantegna, madonna della vittoria, dettaglio 01.jpg

Category:Paintings of Saint George (martyr)

Category:Paintings of Andrew the Apostle

Category:Paintings of Elizabeth (biblical figure)


Madonna della Vittoria

Prompt: How does Madonna della Vittoria explain its History?

On 6 July 1495 the French army of Charles VIII of France, retreating from Italy after the French Invasion of 1494-1498, fought the Italic League at the Battle of Fornovo.  The League, commanded by Francesco II Gonzaga, Marquess of Mantua, was made up of numerous nation-states determined to prevent French dominance in Italy, and included the Holy Roman Empire, Spain, Venice, Milan, and the Papal States controlled by Pope Alexander VI. Despite the League failing in its goal to destroy the French army, taking more casualties at Fornovo, and allowing Charles VIII to retreat back to France with his army intact, Francesco claimed victory. As a sign of his self-proclaimed victory at Fornovo, he commissioned Mantegna to paint the Madonna della Vittoria.During Francesco's absence from Mantua, Daniele da Norsa, a Jewish banker, had purchased a house in the city's San Simone quarter and replaced the image of the Virgin Mary which decorated its façade with his own coat of arms. The regent, Sigismondo Gonzaga, ordered him to restore the depiction. Although Daniele agreed to do so, the populace, inflamed by anti-semitic feeling, destroyed his house.When Francesco returned, he forced Daniele to fund a chapel and a devotional painting. The painting was to be executed by the Mantuan court painter, Mantegna, and was inaugurated in 1496 on the anniversary of the duke's victory at Fornovo. The work was placed in the church of Santa Maria della Vittoria, which had been constructed over the ruins of Daniele da Norsa's house.The painting was one of the artworks looted by the French during the Napoleonic invasion of Italy, and by 1798 was being exhibited in the Louvre. The painting was never returned; the given excuse was that its large size made the transport difficult. The presence of a sulphur-crested cockatoo in the painting is considered as evidence of Arab trade in the Australasian region which dates all the way to when one such bird was gifted from Sultan al-Kamil to Frederick II in the 1240s.

Category:Paintings of the Madonna and Child by Andrea Mantegna

File:Mantegna, madonna della vittoria, dettaglio 03, francesco Gonzaga.jpg

Category:Paintings of Michael (archangel)

Category:Paintings in the Louvre by Italian artists

File:Mantegna, madonna della vittoria, dettaglio 01.jpg

Category:Paintings of Saint George (martyr)

Category:Paintings of Andrew the Apostle

Category:Paintings of Elizabeth (biblical figure)


Madonna della Vittoria

Prompt: In Madonna della Vittoria, how is the History discussed?

On 6 July 1495 the French army of Charles VIII of France, retreating from Italy after the French Invasion of 1494-1498, fought the Italic League at the Battle of Fornovo.  The League, commanded by Francesco II Gonzaga, Marquess of Mantua, was made up of numerous nation-states determined to prevent French dominance in Italy, and included the Holy Roman Empire, Spain, Venice, Milan, and the Papal States controlled by Pope Alexander VI. Despite the League failing in its goal to destroy the French army, taking more casualties at Fornovo, and allowing Charles VIII to retreat back to France with his army intact, Francesco claimed victory. As a sign of his self-proclaimed victory at Fornovo, he commissioned Mantegna to paint the Madonna della Vittoria.During Francesco's absence from Mantua, Daniele da Norsa, a Jewish banker, had purchased a house in the city's San Simone quarter and replaced the image of the Virgin Mary which decorated its façade with his own coat of arms. The regent, Sigismondo Gonzaga, ordered him to restore the depiction. Although Daniele agreed to do so, the populace, inflamed by anti-semitic feeling, destroyed his house.When Francesco returned, he forced Daniele to fund a chapel and a devotional painting. The painting was to be executed by the Mantuan court painter, Mantegna, and was inaugurated in 1496 on the anniversary of the duke's victory at Fornovo. The work was placed in the church of Santa Maria della Vittoria, which had been constructed over the ruins of Daniele da Norsa's house.The painting was one of the artworks looted by the French during the Napoleonic invasion of Italy, and by 1798 was being exhibited in the Louvre. The painting was never returned; the given excuse was that its large size made the transport difficult. The presence of a sulphur-crested cockatoo in the painting is considered as evidence of Arab trade in the Australasian region which dates all the way to when one such bird was gifted from Sultan al-Kamil to Frederick II in the 1240s.

Category:Paintings of the Madonna and Child by Andrea Mantegna

File:Mantegna, madonna della vittoria, dettaglio 03, francesco Gonzaga.jpg

Category:Paintings of Michael (archangel)

Category:Paintings in the Louvre by Italian artists

File:Mantegna, madonna della vittoria, dettaglio 01.jpg

Category:Paintings of Saint George (martyr)

Category:Paintings of Andrew the Apostle

Category:Paintings of Elizabeth (biblical figure)


Madonna della Vittoria

Prompt: Focus on Madonna della Vittoria and explain the Description.

The altarpiece shows Francesco Gonzaga paying homage to Mary, who sits on a high throne decorated with marbles intarsias and bas-reliefs. The base of the throne, with lion paws, has, within a medallion, the inscription "REGINA/CELI LET./ALLELVIA" (Queen of Heaven, rejoice, Alleluia); it lies on a circular basement with a bas-relief of the "Original Sin" and other stories from the Book of Genesis which are partly obscured by the praying figures. The throne's back has a large solar disc, decorated with weavings and vitreous pearls.The child Jesus, who holds two red flowers (symbols of the Passion) and Mary look at Francesco Gonzaga, who is kneeling and has a grateful and smiling expression while receiving their blessing. The protection given to Gonzaga during the battle is also symbolized by Mary's mantle, which partially covers his head. Opposite to the donor are St. John the Baptist with a cross featuring the usual cartouche saying "ECCE/AGNVS/DEI ECCE/Q[VI] TOLL/IT P[ECCATA] M[VNDI]" (Behold the Lamb of God, which takes away the sins of the world), and his mother, St. Elizabeth, protector of Isabella d'Este, wife of Francesco Gonzaga. The choice of St. Elizabeth in the place of a patron may have been chosen as a message of judgement to the Norsa who were made to pay for the work as a penalty for removing an image of the Madonna from their home.  Unlike the Norsa, St. Elizabeth who is represented as a Jewess in a yellow turban, was said to be the first to recognize the sanctity of Mary.At the sides are two couples of standing saints: in the foreground are two military saints, the archangel St. Michael with a sword and St. Longinus with a broken spear, donning richly decorated armors; behind them are St. Andrew, patron saint of Mantua, with a long stick with the cross and St. George, another military saint, with a helmet and a long red lance.The scene is set in an apse formed by a pergola of leaves, flowers and fruits, with several birds; the pergola's frame has at the top a shell (an attribute of the Virgin as new Venus), from which hang threads of coral pearls and rock crystal, as well as a large piece of red coral, another hint to the Passion of Jesus. The parrot is a comment on the birth of Jesus.

Category:Paintings of the Madonna and Child by Andrea Mantegna

File:Mantegna, madonna della vittoria, dettaglio 03, francesco Gonzaga.jpg

Category:Paintings of Michael (archangel)

Category:Paintings in the Louvre by Italian artists

File:Mantegna, madonna della vittoria, dettaglio 01.jpg

Category:Paintings of Saint George (martyr)

Category:Paintings of Andrew the Apostle

Category:Paintings of Elizabeth (biblical figure)


Madonna della Vittoria

Prompt: Explain the Description of this artwork, Madonna della Vittoria.

The altarpiece shows Francesco Gonzaga paying homage to Mary, who sits on a high throne decorated with marbles intarsias and bas-reliefs. The base of the throne, with lion paws, has, within a medallion, the inscription "REGINA/CELI LET./ALLELVIA" (Queen of Heaven, rejoice, Alleluia); it lies on a circular basement with a bas-relief of the "Original Sin" and other stories from the Book of Genesis which are partly obscured by the praying figures. The throne's back has a large solar disc, decorated with weavings and vitreous pearls.The child Jesus, who holds two red flowers (symbols of the Passion) and Mary look at Francesco Gonzaga, who is kneeling and has a grateful and smiling expression while receiving their blessing. The protection given to Gonzaga during the battle is also symbolized by Mary's mantle, which partially covers his head. Opposite to the donor are St. John the Baptist with a cross featuring the usual cartouche saying "ECCE/AGNVS/DEI ECCE/Q[VI] TOLL/IT P[ECCATA] M[VNDI]" (Behold the Lamb of God, which takes away the sins of the world), and his mother, St. Elizabeth, protector of Isabella d'Este, wife of Francesco Gonzaga. The choice of St. Elizabeth in the place of a patron may have been chosen as a message of judgement to the Norsa who were made to pay for the work as a penalty for removing an image of the Madonna from their home.  Unlike the Norsa, St. Elizabeth who is represented as a Jewess in a yellow turban, was said to be the first to recognize the sanctity of Mary.At the sides are two couples of standing saints: in the foreground are two military saints, the archangel St. Michael with a sword and St. Longinus with a broken spear, donning richly decorated armors; behind them are St. Andrew, patron saint of Mantua, with a long stick with the cross and St. George, another military saint, with a helmet and a long red lance.The scene is set in an apse formed by a pergola of leaves, flowers and fruits, with several birds; the pergola's frame has at the top a shell (an attribute of the Virgin as new Venus), from which hang threads of coral pearls and rock crystal, as well as a large piece of red coral, another hint to the Passion of Jesus. The parrot is a comment on the birth of Jesus.

Category:Paintings of the Madonna and Child by Andrea Mantegna

File:Mantegna, madonna della vittoria, dettaglio 03, francesco Gonzaga.jpg

Category:Paintings of Michael (archangel)

Category:Paintings in the Louvre by Italian artists

File:Mantegna, madonna della vittoria, dettaglio 01.jpg

Category:Paintings of Saint George (martyr)

Category:Paintings of Andrew the Apostle

Category:Paintings of Elizabeth (biblical figure)


Madonna della Vittoria

Prompt: How does Madonna della Vittoria explain its Description?

The altarpiece shows Francesco Gonzaga paying homage to Mary, who sits on a high throne decorated with marbles intarsias and bas-reliefs. The base of the throne, with lion paws, has, within a medallion, the inscription "REGINA/CELI LET./ALLELVIA" (Queen of Heaven, rejoice, Alleluia); it lies on a circular basement with a bas-relief of the "Original Sin" and other stories from the Book of Genesis which are partly obscured by the praying figures. The throne's back has a large solar disc, decorated with weavings and vitreous pearls.The child Jesus, who holds two red flowers (symbols of the Passion) and Mary look at Francesco Gonzaga, who is kneeling and has a grateful and smiling expression while receiving their blessing. The protection given to Gonzaga during the battle is also symbolized by Mary's mantle, which partially covers his head. Opposite to the donor are St. John the Baptist with a cross featuring the usual cartouche saying "ECCE/AGNVS/DEI ECCE/Q[VI] TOLL/IT P[ECCATA] M[VNDI]" (Behold the Lamb of God, which takes away the sins of the world), and his mother, St. Elizabeth, protector of Isabella d'Este, wife of Francesco Gonzaga. The choice of St. Elizabeth in the place of a patron may have been chosen as a message of judgement to the Norsa who were made to pay for the work as a penalty for removing an image of the Madonna from their home.  Unlike the Norsa, St. Elizabeth who is represented as a Jewess in a yellow turban, was said to be the first to recognize the sanctity of Mary.At the sides are two couples of standing saints: in the foreground are two military saints, the archangel St. Michael with a sword and St. Longinus with a broken spear, donning richly decorated armors; behind them are St. Andrew, patron saint of Mantua, with a long stick with the cross and St. George, another military saint, with a helmet and a long red lance.The scene is set in an apse formed by a pergola of leaves, flowers and fruits, with several birds; the pergola's frame has at the top a shell (an attribute of the Virgin as new Venus), from which hang threads of coral pearls and rock crystal, as well as a large piece of red coral, another hint to the Passion of Jesus. The parrot is a comment on the birth of Jesus.

Category:Paintings of the Madonna and Child by Andrea Mantegna

File:Mantegna, madonna della vittoria, dettaglio 03, francesco Gonzaga.jpg

Category:Paintings of Michael (archangel)

Category:Paintings in the Louvre by Italian artists

File:Mantegna, madonna della vittoria, dettaglio 01.jpg

Category:Paintings of Saint George (martyr)

Category:Paintings of Andrew the Apostle

Category:Paintings of Elizabeth (biblical figure)


Madonna della Vittoria

Prompt: In Madonna della Vittoria, how is the Description discussed?

The altarpiece shows Francesco Gonzaga paying homage to Mary, who sits on a high throne decorated with marbles intarsias and bas-reliefs. The base of the throne, with lion paws, has, within a medallion, the inscription "REGINA/CELI LET./ALLELVIA" (Queen of Heaven, rejoice, Alleluia); it lies on a circular basement with a bas-relief of the "Original Sin" and other stories from the Book of Genesis which are partly obscured by the praying figures. The throne's back has a large solar disc, decorated with weavings and vitreous pearls.The child Jesus, who holds two red flowers (symbols of the Passion) and Mary look at Francesco Gonzaga, who is kneeling and has a grateful and smiling expression while receiving their blessing. The protection given to Gonzaga during the battle is also symbolized by Mary's mantle, which partially covers his head. Opposite to the donor are St. John the Baptist with a cross featuring the usual cartouche saying "ECCE/AGNVS/DEI ECCE/Q[VI] TOLL/IT P[ECCATA] M[VNDI]" (Behold the Lamb of God, which takes away the sins of the world), and his mother, St. Elizabeth, protector of Isabella d'Este, wife of Francesco Gonzaga. The choice of St. Elizabeth in the place of a patron may have been chosen as a message of judgement to the Norsa who were made to pay for the work as a penalty for removing an image of the Madonna from their home.  Unlike the Norsa, St. Elizabeth who is represented as a Jewess in a yellow turban, was said to be the first to recognize the sanctity of Mary.At the sides are two couples of standing saints: in the foreground are two military saints, the archangel St. Michael with a sword and St. Longinus with a broken spear, donning richly decorated armors; behind them are St. Andrew, patron saint of Mantua, with a long stick with the cross and St. George, another military saint, with a helmet and a long red lance.The scene is set in an apse formed by a pergola of leaves, flowers and fruits, with several birds; the pergola's frame has at the top a shell (an attribute of the Virgin as new Venus), from which hang threads of coral pearls and rock crystal, as well as a large piece of red coral, another hint to the Passion of Jesus. The parrot is a comment on the birth of Jesus.

Category:Paintings of the Madonna and Child by Andrea Mantegna

File:Mantegna, madonna della vittoria, dettaglio 03, francesco Gonzaga.jpg

Category:Paintings of Michael (archangel)

Category:Paintings in the Louvre by Italian artists

File:Mantegna, madonna della vittoria, dettaglio 01.jpg

Category:Paintings of Saint George (martyr)

Category:Paintings of Andrew the Apostle

Category:Paintings of Elizabeth (biblical figure)


Madonna with the Long Neck

Prompt: Focus on Madonna with the Long Neck and explain the abstract.

The Madonna with the Long Neck (Italian: Madonna dal collo lungo), also known as Madonna and Long Child with Angels and St. Jerome, is an Italian Mannerist oil painting by  Parmigianino, dating from c. 1535-1540 and depicting Madonna and Child with angels. The painting was begun in 1534 for the funerary chapel of Francesco Tagliaferri in Parma, but remained incomplete on Parmigianino's death in 1540. Ferdinando de' Medici, Grand Prince of Tuscany, purchased it in 1698 and it has been on display at the Uffizi since 1948.

Category:Paintings of the Madonna and Child by Parmigianino


Madonna with the Long Neck

Prompt: Explain the abstract of this artwork, Madonna with the Long Neck.

The Madonna with the Long Neck (Italian: Madonna dal collo lungo), also known as Madonna and Long Child with Angels and St. Jerome, is an Italian Mannerist oil painting by  Parmigianino, dating from c. 1535-1540 and depicting Madonna and Child with angels. The painting was begun in 1534 for the funerary chapel of Francesco Tagliaferri in Parma, but remained incomplete on Parmigianino's death in 1540. Ferdinando de' Medici, Grand Prince of Tuscany, purchased it in 1698 and it has been on display at the Uffizi since 1948.

Category:Paintings of the Madonna and Child by Parmigianino


Madonna with the Long Neck

Prompt: How does Madonna with the Long Neck explain its abstract?

The Madonna with the Long Neck (Italian: Madonna dal collo lungo), also known as Madonna and Long Child with Angels and St. Jerome, is an Italian Mannerist oil painting by  Parmigianino, dating from c. 1535-1540 and depicting Madonna and Child with angels. The painting was begun in 1534 for the funerary chapel of Francesco Tagliaferri in Parma, but remained incomplete on Parmigianino's death in 1540. Ferdinando de' Medici, Grand Prince of Tuscany, purchased it in 1698 and it has been on display at the Uffizi since 1948.

Category:Paintings of the Madonna and Child by Parmigianino


Madonna with the Long Neck

Prompt: In Madonna with the Long Neck, how is the abstract discussed?

The Madonna with the Long Neck (Italian: Madonna dal collo lungo), also known as Madonna and Long Child with Angels and St. Jerome, is an Italian Mannerist oil painting by  Parmigianino, dating from c. 1535-1540 and depicting Madonna and Child with angels. The painting was begun in 1534 for the funerary chapel of Francesco Tagliaferri in Parma, but remained incomplete on Parmigianino's death in 1540. Ferdinando de' Medici, Grand Prince of Tuscany, purchased it in 1698 and it has been on display at the Uffizi since 1948.

Category:Paintings of the Madonna and Child by Parmigianino


Madonna with the Long Neck

Prompt: Focus on Madonna with the Long Neck and explain the Description.

The painting depicts the Virgin Mary seated on a high pedestal in luxurious robes, holding a large baby Jesus on her lap.  Six angels crowded together on the Madonna's right adore the Christ-child. In the lower right-hand corner of the painting is an enigmatic scene, with a row of marble columns and the emaciated figure of St. Jerome. A depiction of St. Jerome was required by the commissioner because of the saint's connection with the adoration of the Virgin Mary.The painting is popularly called Madonna of the Long Neck because "the painter, in his eagerness to make the Holy Virgin look graceful and elegant, has given her a neck like that of a swan." On the unusual arrangement of figures, Austrian-British art historian E. H. Gombrich writes:Instead of distributing his figures in equal pairs on both sides of the Madonna, he crammed a jostling crowd of angels into a narrow corner, and left the other side wide open to show the tall figure of the prophet, so reduced in size through the distance that he hardly reaches the Madonna's knee. There can be no doubt, then, that if this be madness there is method in it. The painter wanted to be unorthodox. He wanted to show that the classical solution of perfect harmony is not the only solution conceivable ... Parmigianino and all the artists of his time who deliberately sought to create something new and unexpected, even at the expense of the 'natural' beauty established by the great masters, were perhaps the first 'modern' artists.Parmigianino has distorted nature for his own artistic purposes, creating a typical Mannerist figura serpentinata. Jesus is also extremely large for a baby, and he lies precariously on Mary's lap as if about to fall at any moment. The Madonna herself is of hardly human proportions—she is almost twice the size of the angels to her right. Her right foot rests on cushions that appear to be only a few inches away from the picture plane, but the foot itself seems to project beyond it, and is thus on "our" side of the canvas, breaking the conventions of a framed picture. Her slender hands and long fingers have also led the Italian medical scientist Vito Franco of the University of Palermo to diagnose that Parmigianino's model had the genetic disorder Marfan syndrome affecting her connective tissue.Following a recent restoration of the painting, the unfinished face of an angel just below the Madonna's right elbow can be seen more clearly. Also the angel in the middle of the bottom row now looks at the vase held by the angel on his right, in which can be seen the faint image of a cross. Before the restoration this angel looked down at the Christ child. The changes made during the restoration likely reflect the original painting, which must have been altered at some time in its history. The angel who faces the viewer has a resemblance to Parmigianino's Antea portrait.

Category:Paintings of the Madonna and Child by Parmigianino

Ferdinando de' Medici, Grand Prince of Tuscany


Madonna with the Long Neck

Prompt: Explain the Description of this artwork, Madonna with the Long Neck.

The painting depicts the Virgin Mary seated on a high pedestal in luxurious robes, holding a large baby Jesus on her lap.  Six angels crowded together on the Madonna's right adore the Christ-child. In the lower right-hand corner of the painting is an enigmatic scene, with a row of marble columns and the emaciated figure of St. Jerome. A depiction of St. Jerome was required by the commissioner because of the saint's connection with the adoration of the Virgin Mary.The painting is popularly called Madonna of the Long Neck because "the painter, in his eagerness to make the Holy Virgin look graceful and elegant, has given her a neck like that of a swan." On the unusual arrangement of figures, Austrian-British art historian E. H. Gombrich writes:Instead of distributing his figures in equal pairs on both sides of the Madonna, he crammed a jostling crowd of angels into a narrow corner, and left the other side wide open to show the tall figure of the prophet, so reduced in size through the distance that he hardly reaches the Madonna's knee. There can be no doubt, then, that if this be madness there is method in it. The painter wanted to be unorthodox. He wanted to show that the classical solution of perfect harmony is not the only solution conceivable ... Parmigianino and all the artists of his time who deliberately sought to create something new and unexpected, even at the expense of the 'natural' beauty established by the great masters, were perhaps the first 'modern' artists.Parmigianino has distorted nature for his own artistic purposes, creating a typical Mannerist figura serpentinata. Jesus is also extremely large for a baby, and he lies precariously on Mary's lap as if about to fall at any moment. The Madonna herself is of hardly human proportions—she is almost twice the size of the angels to her right. Her right foot rests on cushions that appear to be only a few inches away from the picture plane, but the foot itself seems to project beyond it, and is thus on "our" side of the canvas, breaking the conventions of a framed picture. Her slender hands and long fingers have also led the Italian medical scientist Vito Franco of the University of Palermo to diagnose that Parmigianino's model had the genetic disorder Marfan syndrome affecting her connective tissue.Following a recent restoration of the painting, the unfinished face of an angel just below the Madonna's right elbow can be seen more clearly. Also the angel in the middle of the bottom row now looks at the vase held by the angel on his right, in which can be seen the faint image of a cross. Before the restoration this angel looked down at the Christ child. The changes made during the restoration likely reflect the original painting, which must have been altered at some time in its history. The angel who faces the viewer has a resemblance to Parmigianino's Antea portrait.

Category:Paintings of the Madonna and Child by Parmigianino

Ferdinando de' Medici, Grand Prince of Tuscany


Madonna with the Long Neck

Prompt: How does Madonna with the Long Neck explain its Description?

The painting depicts the Virgin Mary seated on a high pedestal in luxurious robes, holding a large baby Jesus on her lap.  Six angels crowded together on the Madonna's right adore the Christ-child. In the lower right-hand corner of the painting is an enigmatic scene, with a row of marble columns and the emaciated figure of St. Jerome. A depiction of St. Jerome was required by the commissioner because of the saint's connection with the adoration of the Virgin Mary.The painting is popularly called Madonna of the Long Neck because "the painter, in his eagerness to make the Holy Virgin look graceful and elegant, has given her a neck like that of a swan." On the unusual arrangement of figures, Austrian-British art historian E. H. Gombrich writes:Instead of distributing his figures in equal pairs on both sides of the Madonna, he crammed a jostling crowd of angels into a narrow corner, and left the other side wide open to show the tall figure of the prophet, so reduced in size through the distance that he hardly reaches the Madonna's knee. There can be no doubt, then, that if this be madness there is method in it. The painter wanted to be unorthodox. He wanted to show that the classical solution of perfect harmony is not the only solution conceivable ... Parmigianino and all the artists of his time who deliberately sought to create something new and unexpected, even at the expense of the 'natural' beauty established by the great masters, were perhaps the first 'modern' artists.Parmigianino has distorted nature for his own artistic purposes, creating a typical Mannerist figura serpentinata. Jesus is also extremely large for a baby, and he lies precariously on Mary's lap as if about to fall at any moment. The Madonna herself is of hardly human proportions—she is almost twice the size of the angels to her right. Her right foot rests on cushions that appear to be only a few inches away from the picture plane, but the foot itself seems to project beyond it, and is thus on "our" side of the canvas, breaking the conventions of a framed picture. Her slender hands and long fingers have also led the Italian medical scientist Vito Franco of the University of Palermo to diagnose that Parmigianino's model had the genetic disorder Marfan syndrome affecting her connective tissue.Following a recent restoration of the painting, the unfinished face of an angel just below the Madonna's right elbow can be seen more clearly. Also the angel in the middle of the bottom row now looks at the vase held by the angel on his right, in which can be seen the faint image of a cross. Before the restoration this angel looked down at the Christ child. The changes made during the restoration likely reflect the original painting, which must have been altered at some time in its history. The angel who faces the viewer has a resemblance to Parmigianino's Antea portrait.

Category:Paintings of the Madonna and Child by Parmigianino

Ferdinando de' Medici, Grand Prince of Tuscany


Madonna with the Long Neck

Prompt: In Madonna with the Long Neck, how is the Description discussed?

The painting depicts the Virgin Mary seated on a high pedestal in luxurious robes, holding a large baby Jesus on her lap.  Six angels crowded together on the Madonna's right adore the Christ-child. In the lower right-hand corner of the painting is an enigmatic scene, with a row of marble columns and the emaciated figure of St. Jerome. A depiction of St. Jerome was required by the commissioner because of the saint's connection with the adoration of the Virgin Mary.The painting is popularly called Madonna of the Long Neck because "the painter, in his eagerness to make the Holy Virgin look graceful and elegant, has given her a neck like that of a swan." On the unusual arrangement of figures, Austrian-British art historian E. H. Gombrich writes:Instead of distributing his figures in equal pairs on both sides of the Madonna, he crammed a jostling crowd of angels into a narrow corner, and left the other side wide open to show the tall figure of the prophet, so reduced in size through the distance that he hardly reaches the Madonna's knee. There can be no doubt, then, that if this be madness there is method in it. The painter wanted to be unorthodox. He wanted to show that the classical solution of perfect harmony is not the only solution conceivable ... Parmigianino and all the artists of his time who deliberately sought to create something new and unexpected, even at the expense of the 'natural' beauty established by the great masters, were perhaps the first 'modern' artists.Parmigianino has distorted nature for his own artistic purposes, creating a typical Mannerist figura serpentinata. Jesus is also extremely large for a baby, and he lies precariously on Mary's lap as if about to fall at any moment. The Madonna herself is of hardly human proportions—she is almost twice the size of the angels to her right. Her right foot rests on cushions that appear to be only a few inches away from the picture plane, but the foot itself seems to project beyond it, and is thus on "our" side of the canvas, breaking the conventions of a framed picture. Her slender hands and long fingers have also led the Italian medical scientist Vito Franco of the University of Palermo to diagnose that Parmigianino's model had the genetic disorder Marfan syndrome affecting her connective tissue.Following a recent restoration of the painting, the unfinished face of an angel just below the Madonna's right elbow can be seen more clearly. Also the angel in the middle of the bottom row now looks at the vase held by the angel on his right, in which can be seen the faint image of a cross. Before the restoration this angel looked down at the Christ child. The changes made during the restoration likely reflect the original painting, which must have been altered at some time in its history. The angel who faces the viewer has a resemblance to Parmigianino's Antea portrait.

Category:Paintings of the Madonna and Child by Parmigianino

Ferdinando de' Medici, Grand Prince of Tuscany


Woman Holding a Balance

Prompt: Focus on Woman Holding a Balance and explain the abstract.

Woman Holding a Balance (Dutch: Vrouw met weegschaal), also called Woman Testing a Balance, is an oil painting by  Dutch Golden Age painter  Johannes Vermeer, now in the National Gallery of Art in Washington, DC.At one time the painting, completed c. 1662–1663, was known as Woman Weighing Gold, but closer evaluation has determined that the balance in her hand is empty. Opinions on the theme and symbolism of the painting differ, with the woman alternatively viewed as a symbol of holiness or earthliness.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Woman Holding a Balance

Prompt: Explain the abstract of this artwork, Woman Holding a Balance.

Woman Holding a Balance (Dutch: Vrouw met weegschaal), also called Woman Testing a Balance, is an oil painting by  Dutch Golden Age painter  Johannes Vermeer, now in the National Gallery of Art in Washington, DC.At one time the painting, completed c. 1662–1663, was known as Woman Weighing Gold, but closer evaluation has determined that the balance in her hand is empty. Opinions on the theme and symbolism of the painting differ, with the woman alternatively viewed as a symbol of holiness or earthliness.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Woman Holding a Balance

Prompt: How does Woman Holding a Balance explain its abstract?

Woman Holding a Balance (Dutch: Vrouw met weegschaal), also called Woman Testing a Balance, is an oil painting by  Dutch Golden Age painter  Johannes Vermeer, now in the National Gallery of Art in Washington, DC.At one time the painting, completed c. 1662–1663, was known as Woman Weighing Gold, but closer evaluation has determined that the balance in her hand is empty. Opinions on the theme and symbolism of the painting differ, with the woman alternatively viewed as a symbol of holiness or earthliness.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Woman Holding a Balance

Prompt: In Woman Holding a Balance, how is the abstract discussed?

Woman Holding a Balance (Dutch: Vrouw met weegschaal), also called Woman Testing a Balance, is an oil painting by  Dutch Golden Age painter  Johannes Vermeer, now in the National Gallery of Art in Washington, DC.At one time the painting, completed c. 1662–1663, was known as Woman Weighing Gold, but closer evaluation has determined that the balance in her hand is empty. Opinions on the theme and symbolism of the painting differ, with the woman alternatively viewed as a symbol of holiness or earthliness.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Woman Holding a Balance

Prompt: Focus on Woman Holding a Balance and explain the Theme.

In the painting, Vermeer has depicted, what discreetly appears to be a young pregnant woman holding an empty balance before a table on which stands an open jewelry box, the pearls and gold within spilling over. A blue cloth rests in the left foreground, beneath a mirror, and a window to the left — unseen save its golden curtain — provides light. Behind the woman is a painting of the Last Judgment featuring Christ with raised, outstretched hands. The woman may have been modeled on Vermeer's wife, Catharina Vermeer.According to Robert Huerta in Vermeer and Plato: Painting the Ideal (2005), the image has been variously "interpreted as a vanitas painting, as a representation of divine truth or justice, as a religious meditative aid, and as an incitement to lead a balanced, thoughtful life." Some viewers have imagined the woman is weighing her valuables, while others compare her actions to Christ's, reading parable into the pearls. Some art critics, including John Michael Montias who describes her as "symbolically weighing unborn souls", have seen the woman as a figure of Mary. To some critics who perceive her as measuring her valuables, the juxtaposition with the final judgement suggests that the woman should be focusing on the treasures of Heaven rather than those of Earth, with the mirror on the wall reinforcing the vanity of her pursuits. Other historians have suggested that the balance represents her careful harmonization of worldly possessions and spiritual piety. In this interpretation, the mirror on the wall reflects the woman's self-knowledge.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Woman Holding a Balance

Prompt: Explain the Theme of this artwork, Woman Holding a Balance.

In the painting, Vermeer has depicted, what discreetly appears to be a young pregnant woman holding an empty balance before a table on which stands an open jewelry box, the pearls and gold within spilling over. A blue cloth rests in the left foreground, beneath a mirror, and a window to the left — unseen save its golden curtain — provides light. Behind the woman is a painting of the Last Judgment featuring Christ with raised, outstretched hands. The woman may have been modeled on Vermeer's wife, Catharina Vermeer.According to Robert Huerta in Vermeer and Plato: Painting the Ideal (2005), the image has been variously "interpreted as a vanitas painting, as a representation of divine truth or justice, as a religious meditative aid, and as an incitement to lead a balanced, thoughtful life." Some viewers have imagined the woman is weighing her valuables, while others compare her actions to Christ's, reading parable into the pearls. Some art critics, including John Michael Montias who describes her as "symbolically weighing unborn souls", have seen the woman as a figure of Mary. To some critics who perceive her as measuring her valuables, the juxtaposition with the final judgement suggests that the woman should be focusing on the treasures of Heaven rather than those of Earth, with the mirror on the wall reinforcing the vanity of her pursuits. Other historians have suggested that the balance represents her careful harmonization of worldly possessions and spiritual piety. In this interpretation, the mirror on the wall reflects the woman's self-knowledge.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Woman Holding a Balance

Prompt: How does Woman Holding a Balance explain its Theme?

In the painting, Vermeer has depicted, what discreetly appears to be a young pregnant woman holding an empty balance before a table on which stands an open jewelry box, the pearls and gold within spilling over. A blue cloth rests in the left foreground, beneath a mirror, and a window to the left — unseen save its golden curtain — provides light. Behind the woman is a painting of the Last Judgment featuring Christ with raised, outstretched hands. The woman may have been modeled on Vermeer's wife, Catharina Vermeer.According to Robert Huerta in Vermeer and Plato: Painting the Ideal (2005), the image has been variously "interpreted as a vanitas painting, as a representation of divine truth or justice, as a religious meditative aid, and as an incitement to lead a balanced, thoughtful life." Some viewers have imagined the woman is weighing her valuables, while others compare her actions to Christ's, reading parable into the pearls. Some art critics, including John Michael Montias who describes her as "symbolically weighing unborn souls", have seen the woman as a figure of Mary. To some critics who perceive her as measuring her valuables, the juxtaposition with the final judgement suggests that the woman should be focusing on the treasures of Heaven rather than those of Earth, with the mirror on the wall reinforcing the vanity of her pursuits. Other historians have suggested that the balance represents her careful harmonization of worldly possessions and spiritual piety. In this interpretation, the mirror on the wall reflects the woman's self-knowledge.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Woman Holding a Balance

Prompt: In Woman Holding a Balance, how is the Theme discussed?

In the painting, Vermeer has depicted, what discreetly appears to be a young pregnant woman holding an empty balance before a table on which stands an open jewelry box, the pearls and gold within spilling over. A blue cloth rests in the left foreground, beneath a mirror, and a window to the left — unseen save its golden curtain — provides light. Behind the woman is a painting of the Last Judgment featuring Christ with raised, outstretched hands. The woman may have been modeled on Vermeer's wife, Catharina Vermeer.According to Robert Huerta in Vermeer and Plato: Painting the Ideal (2005), the image has been variously "interpreted as a vanitas painting, as a representation of divine truth or justice, as a religious meditative aid, and as an incitement to lead a balanced, thoughtful life." Some viewers have imagined the woman is weighing her valuables, while others compare her actions to Christ's, reading parable into the pearls. Some art critics, including John Michael Montias who describes her as "symbolically weighing unborn souls", have seen the woman as a figure of Mary. To some critics who perceive her as measuring her valuables, the juxtaposition with the final judgement suggests that the woman should be focusing on the treasures of Heaven rather than those of Earth, with the mirror on the wall reinforcing the vanity of her pursuits. Other historians have suggested that the balance represents her careful harmonization of worldly possessions and spiritual piety. In this interpretation, the mirror on the wall reflects the woman's self-knowledge.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Woman Holding a Balance

Prompt: Focus on Woman Holding a Balance and explain the History.

Completed in 1662 or 1663, the painting was previously called Woman Weighing Gold before microscopic evaluation confirms that the balance in her hands is empty. The painting was among the large collection of Vermeer works sold on May 16, 1696, in Amsterdam from the estate of Jacob Dissius (1653–1695). It received 155 guilders, considerably above the prices fetched at the time for his Girl Asleep at a Table (62) and The Officer and the Laughing Girl (approximately 44), but somewhat below The Milkmaid (177).

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Woman Holding a Balance

Prompt: Explain the History of this artwork, Woman Holding a Balance.

Completed in 1662 or 1663, the painting was previously called Woman Weighing Gold before microscopic evaluation confirms that the balance in her hands is empty. The painting was among the large collection of Vermeer works sold on May 16, 1696, in Amsterdam from the estate of Jacob Dissius (1653–1695). It received 155 guilders, considerably above the prices fetched at the time for his Girl Asleep at a Table (62) and The Officer and the Laughing Girl (approximately 44), but somewhat below The Milkmaid (177).

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Woman Holding a Balance

Prompt: How does Woman Holding a Balance explain its History?

Completed in 1662 or 1663, the painting was previously called Woman Weighing Gold before microscopic evaluation confirms that the balance in her hands is empty. The painting was among the large collection of Vermeer works sold on May 16, 1696, in Amsterdam from the estate of Jacob Dissius (1653–1695). It received 155 guilders, considerably above the prices fetched at the time for his Girl Asleep at a Table (62) and The Officer and the Laughing Girl (approximately 44), but somewhat below The Milkmaid (177).

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Woman Holding a Balance

Prompt: In Woman Holding a Balance, how is the History discussed?

Completed in 1662 or 1663, the painting was previously called Woman Weighing Gold before microscopic evaluation confirms that the balance in her hands is empty. The painting was among the large collection of Vermeer works sold on May 16, 1696, in Amsterdam from the estate of Jacob Dissius (1653–1695). It received 155 guilders, considerably above the prices fetched at the time for his Girl Asleep at a Table (62) and The Officer and the Laughing Girl (approximately 44), but somewhat below The Milkmaid (177).

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Woman Holding a Balance

Prompt: Focus on Woman Holding a Balance and explain the Painting materials.

The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller (1974) and M.E. Gifford (1994) have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Woman Holding a Balance

Prompt: Explain the Painting materials of this artwork, Woman Holding a Balance.

The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller (1974) and M.E. Gifford (1994) have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Woman Holding a Balance

Prompt: How does Woman Holding a Balance explain its Painting materials?

The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller (1974) and M.E. Gifford (1994) have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Woman Holding a Balance

Prompt: In Woman Holding a Balance, how is the Painting materials discussed?

The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller (1974) and M.E. Gifford (1994) have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Portrait of Innocent X

Prompt: Focus on Portrait of Innocent X and explain the abstract.

Portrait of Pope Innocent X is an oil on canvas portrait by the Spanish painter Diego Velázquez, created during a trip to Italy around 1650. Many artists and art critics consider it the finest portrait ever created. It is housed in the Galleria Doria Pamphilj in Rome. A smaller version is held by the Metropolitan Museum of Art in New York, and a study is on display at Apsley House in London. The painting is noted for its realism as an unflinching portrait of a highly intelligent, shrewd, and aging man. He is dressed in linen vestments, and the quality of the work is evident in the rich reds of his upper clothing, head-dress, and the hanging curtains.The pope, born Giovanni Battista Pamphilj, was initially wary of sitting for Velázquez, but relented after he was shown reproductions of portraits by the artist. A contributing factor for this large advancement in the painter's career was that he had already depicted a number of members of Pamphilj's inner court. The pope, however, remained cautious, and the painting was initially displayed only to his immediate family, and was largely lost from public view through the 17th and 18th centuries.

Category:Collection of the Galleria Doria Pamphilj

Category:Cultural depictions of Pope Innocent X

Study after Velázquez's Portrait of Pope Innocent X

A copy made by Velázquez's circle, currently hanging at the National Gallery of Art, Washington


Portrait of Innocent X

Prompt: Explain the abstract of this artwork, Portrait of Innocent X.

Portrait of Pope Innocent X is an oil on canvas portrait by the Spanish painter Diego Velázquez, created during a trip to Italy around 1650. Many artists and art critics consider it the finest portrait ever created. It is housed in the Galleria Doria Pamphilj in Rome. A smaller version is held by the Metropolitan Museum of Art in New York, and a study is on display at Apsley House in London. The painting is noted for its realism as an unflinching portrait of a highly intelligent, shrewd, and aging man. He is dressed in linen vestments, and the quality of the work is evident in the rich reds of his upper clothing, head-dress, and the hanging curtains.The pope, born Giovanni Battista Pamphilj, was initially wary of sitting for Velázquez, but relented after he was shown reproductions of portraits by the artist. A contributing factor for this large advancement in the painter's career was that he had already depicted a number of members of Pamphilj's inner court. The pope, however, remained cautious, and the painting was initially displayed only to his immediate family, and was largely lost from public view through the 17th and 18th centuries.

Category:Collection of the Galleria Doria Pamphilj

Category:Cultural depictions of Pope Innocent X

Study after Velázquez's Portrait of Pope Innocent X

A copy made by Velázquez's circle, currently hanging at the National Gallery of Art, Washington


Portrait of Innocent X

Prompt: How does Portrait of Innocent X explain its abstract?

Portrait of Pope Innocent X is an oil on canvas portrait by the Spanish painter Diego Velázquez, created during a trip to Italy around 1650. Many artists and art critics consider it the finest portrait ever created. It is housed in the Galleria Doria Pamphilj in Rome. A smaller version is held by the Metropolitan Museum of Art in New York, and a study is on display at Apsley House in London. The painting is noted for its realism as an unflinching portrait of a highly intelligent, shrewd, and aging man. He is dressed in linen vestments, and the quality of the work is evident in the rich reds of his upper clothing, head-dress, and the hanging curtains.The pope, born Giovanni Battista Pamphilj, was initially wary of sitting for Velázquez, but relented after he was shown reproductions of portraits by the artist. A contributing factor for this large advancement in the painter's career was that he had already depicted a number of members of Pamphilj's inner court. The pope, however, remained cautious, and the painting was initially displayed only to his immediate family, and was largely lost from public view through the 17th and 18th centuries.

Category:Collection of the Galleria Doria Pamphilj

Category:Cultural depictions of Pope Innocent X

Study after Velázquez's Portrait of Pope Innocent X

A copy made by Velázquez's circle, currently hanging at the National Gallery of Art, Washington


Portrait of Innocent X

Prompt: In Portrait of Innocent X, how is the abstract discussed?

Portrait of Pope Innocent X is an oil on canvas portrait by the Spanish painter Diego Velázquez, created during a trip to Italy around 1650. Many artists and art critics consider it the finest portrait ever created. It is housed in the Galleria Doria Pamphilj in Rome. A smaller version is held by the Metropolitan Museum of Art in New York, and a study is on display at Apsley House in London. The painting is noted for its realism as an unflinching portrait of a highly intelligent, shrewd, and aging man. He is dressed in linen vestments, and the quality of the work is evident in the rich reds of his upper clothing, head-dress, and the hanging curtains.The pope, born Giovanni Battista Pamphilj, was initially wary of sitting for Velázquez, but relented after he was shown reproductions of portraits by the artist. A contributing factor for this large advancement in the painter's career was that he had already depicted a number of members of Pamphilj's inner court. The pope, however, remained cautious, and the painting was initially displayed only to his immediate family, and was largely lost from public view through the 17th and 18th centuries.

Category:Collection of the Galleria Doria Pamphilj

Category:Cultural depictions of Pope Innocent X

Study after Velázquez's Portrait of Pope Innocent X

A copy made by Velázquez's circle, currently hanging at the National Gallery of Art, Washington


Portrait of Innocent X

Prompt: Focus on Portrait of Innocent X and explain the History.

The portrait was painted during Velázquez's second voyage to Italy, between 1649 and 1651. The subject's vestments are of light linen, suggesting that the picture was probably painted during summer, most likely in 1650. Velázquez included his signature on the paper in the pope's hands, but the date is not readable. There are two versions of the story of how Velázquez came to paint the portrait. According to one of these, while visiting Rome, Velázquez, already a renowned painter, was granted an audience with Pope Innocent X. He offered to paint a portrait of the pope, but Innocent X mistrusted Velázquez's fame, and asked for proof of Veláquez's skills. It would have been then that Velázquez painted the portrait of his servant Juan de Pareja (today at display in the Metropolitan Museum of New York). Once Innocent saw that portrait, he agreed to sit for the artist.Apparently, when the pope saw the finished portrait, he exclaimed: "È troppo vero! È troppo vero!" ("It's too true! It's too true!"), though he did not deny the extraordinary quality of the portrait. Experts doubt the veracity of this story, and argue that the pope allowed Velázquez to paint him because he had already painted with great success other people from the inner papal court, including the pope's barber.The portrait was kept at private display by Innocent's family, the Pamphilj, who would display it in the Doria Pamphilj Gallery where it remains to this day. For much of the 17th and 18th centuries, it was a relatively unknown work, familiar only to a few connoisseurs who regarded it to be one of the finest portraits ever. French historian Hippolyte Taine considered the portrait as "the masterpiece amongst all portraits" and said "once it has been seen, it is impossible to forget".The art dealer René Gimpel noted in his diary in 1923 "Morgan would have offered a million dollars for it. Velázquez was faced with a ruddy Italian, and the artist, accustomed to the pale complexions of his country, unhesitatingly steeped his brush in red the color of wine and brought the bon vivant devastatingly to life.... That face is a whirlpool of flesh, and blood, and life; the eyes are searching."

Category:Collection of the Galleria Doria Pamphilj

Category:Cultural depictions of Pope Innocent X

Study after Velázquez's Portrait of Pope Innocent X

A copy made by Velázquez's circle, currently hanging at the National Gallery of Art, Washington


Portrait of Innocent X

Prompt: Explain the History of this artwork, Portrait of Innocent X.

The portrait was painted during Velázquez's second voyage to Italy, between 1649 and 1651. The subject's vestments are of light linen, suggesting that the picture was probably painted during summer, most likely in 1650. Velázquez included his signature on the paper in the pope's hands, but the date is not readable. There are two versions of the story of how Velázquez came to paint the portrait. According to one of these, while visiting Rome, Velázquez, already a renowned painter, was granted an audience with Pope Innocent X. He offered to paint a portrait of the pope, but Innocent X mistrusted Velázquez's fame, and asked for proof of Veláquez's skills. It would have been then that Velázquez painted the portrait of his servant Juan de Pareja (today at display in the Metropolitan Museum of New York). Once Innocent saw that portrait, he agreed to sit for the artist.Apparently, when the pope saw the finished portrait, he exclaimed: "È troppo vero! È troppo vero!" ("It's too true! It's too true!"), though he did not deny the extraordinary quality of the portrait. Experts doubt the veracity of this story, and argue that the pope allowed Velázquez to paint him because he had already painted with great success other people from the inner papal court, including the pope's barber.The portrait was kept at private display by Innocent's family, the Pamphilj, who would display it in the Doria Pamphilj Gallery where it remains to this day. For much of the 17th and 18th centuries, it was a relatively unknown work, familiar only to a few connoisseurs who regarded it to be one of the finest portraits ever. French historian Hippolyte Taine considered the portrait as "the masterpiece amongst all portraits" and said "once it has been seen, it is impossible to forget".The art dealer René Gimpel noted in his diary in 1923 "Morgan would have offered a million dollars for it. Velázquez was faced with a ruddy Italian, and the artist, accustomed to the pale complexions of his country, unhesitatingly steeped his brush in red the color of wine and brought the bon vivant devastatingly to life.... That face is a whirlpool of flesh, and blood, and life; the eyes are searching."

Category:Collection of the Galleria Doria Pamphilj

Category:Cultural depictions of Pope Innocent X

Study after Velázquez's Portrait of Pope Innocent X

A copy made by Velázquez's circle, currently hanging at the National Gallery of Art, Washington


Portrait of Innocent X

Prompt: How does Portrait of Innocent X explain its History?

The portrait was painted during Velázquez's second voyage to Italy, between 1649 and 1651. The subject's vestments are of light linen, suggesting that the picture was probably painted during summer, most likely in 1650. Velázquez included his signature on the paper in the pope's hands, but the date is not readable. There are two versions of the story of how Velázquez came to paint the portrait. According to one of these, while visiting Rome, Velázquez, already a renowned painter, was granted an audience with Pope Innocent X. He offered to paint a portrait of the pope, but Innocent X mistrusted Velázquez's fame, and asked for proof of Veláquez's skills. It would have been then that Velázquez painted the portrait of his servant Juan de Pareja (today at display in the Metropolitan Museum of New York). Once Innocent saw that portrait, he agreed to sit for the artist.Apparently, when the pope saw the finished portrait, he exclaimed: "È troppo vero! È troppo vero!" ("It's too true! It's too true!"), though he did not deny the extraordinary quality of the portrait. Experts doubt the veracity of this story, and argue that the pope allowed Velázquez to paint him because he had already painted with great success other people from the inner papal court, including the pope's barber.The portrait was kept at private display by Innocent's family, the Pamphilj, who would display it in the Doria Pamphilj Gallery where it remains to this day. For much of the 17th and 18th centuries, it was a relatively unknown work, familiar only to a few connoisseurs who regarded it to be one of the finest portraits ever. French historian Hippolyte Taine considered the portrait as "the masterpiece amongst all portraits" and said "once it has been seen, it is impossible to forget".The art dealer René Gimpel noted in his diary in 1923 "Morgan would have offered a million dollars for it. Velázquez was faced with a ruddy Italian, and the artist, accustomed to the pale complexions of his country, unhesitatingly steeped his brush in red the color of wine and brought the bon vivant devastatingly to life.... That face is a whirlpool of flesh, and blood, and life; the eyes are searching."

Category:Collection of the Galleria Doria Pamphilj

Category:Cultural depictions of Pope Innocent X

Study after Velázquez's Portrait of Pope Innocent X

A copy made by Velázquez's circle, currently hanging at the National Gallery of Art, Washington


Portrait of Innocent X

Prompt: In Portrait of Innocent X, how is the History discussed?

The portrait was painted during Velázquez's second voyage to Italy, between 1649 and 1651. The subject's vestments are of light linen, suggesting that the picture was probably painted during summer, most likely in 1650. Velázquez included his signature on the paper in the pope's hands, but the date is not readable. There are two versions of the story of how Velázquez came to paint the portrait. According to one of these, while visiting Rome, Velázquez, already a renowned painter, was granted an audience with Pope Innocent X. He offered to paint a portrait of the pope, but Innocent X mistrusted Velázquez's fame, and asked for proof of Veláquez's skills. It would have been then that Velázquez painted the portrait of his servant Juan de Pareja (today at display in the Metropolitan Museum of New York). Once Innocent saw that portrait, he agreed to sit for the artist.Apparently, when the pope saw the finished portrait, he exclaimed: "È troppo vero! È troppo vero!" ("It's too true! It's too true!"), though he did not deny the extraordinary quality of the portrait. Experts doubt the veracity of this story, and argue that the pope allowed Velázquez to paint him because he had already painted with great success other people from the inner papal court, including the pope's barber.The portrait was kept at private display by Innocent's family, the Pamphilj, who would display it in the Doria Pamphilj Gallery where it remains to this day. For much of the 17th and 18th centuries, it was a relatively unknown work, familiar only to a few connoisseurs who regarded it to be one of the finest portraits ever. French historian Hippolyte Taine considered the portrait as "the masterpiece amongst all portraits" and said "once it has been seen, it is impossible to forget".The art dealer René Gimpel noted in his diary in 1923 "Morgan would have offered a million dollars for it. Velázquez was faced with a ruddy Italian, and the artist, accustomed to the pale complexions of his country, unhesitatingly steeped his brush in red the color of wine and brought the bon vivant devastatingly to life.... That face is a whirlpool of flesh, and blood, and life; the eyes are searching."

Category:Collection of the Galleria Doria Pamphilj

Category:Cultural depictions of Pope Innocent X

Study after Velázquez's Portrait of Pope Innocent X

A copy made by Velázquez's circle, currently hanging at the National Gallery of Art, Washington


Portrait of Innocent X

Prompt: Focus on Portrait of Innocent X and explain the Influence.

The 20th century artist Francis Bacon painted a series of distorted variants, often known as the "Screaming Popes", which total more than forty-five known variants executed during the 1950s and early 1960s. The picture was described by Gilles Deleuze as an example of creative re-interpretation of the classical. Bacon avoided seeing the original, but the painting remained the single greatest influence on him; its presence can be seen in many of his best works from the late 1940s to the early 1960s. In Bacon's 1953 version Study after Velázquez's Portrait of Pope Innocent X, the pope is shown screaming yet his voice is "silenced" by the enclosing drapes and dark rich colors which have been said to create a grotesque and nightmarish tone. The pleated curtains of the backdrop are rendered transparent and appear to fall through the representation of the pope's face.A reversed form of the portrait features on the cover of occult rock band Ghost's 2018 album Prequelle.

Category:Collection of the Galleria Doria Pamphilj

Category:Cultural depictions of Pope Innocent X

A copy made by Velázquez's circle, currently hanging at the National Gallery of Art, Washington


Portrait of Innocent X

Prompt: Explain the Influence of this artwork, Portrait of Innocent X.

The 20th century artist Francis Bacon painted a series of distorted variants, often known as the "Screaming Popes", which total more than forty-five known variants executed during the 1950s and early 1960s. The picture was described by Gilles Deleuze as an example of creative re-interpretation of the classical. Bacon avoided seeing the original, but the painting remained the single greatest influence on him; its presence can be seen in many of his best works from the late 1940s to the early 1960s. In Bacon's 1953 version Study after Velázquez's Portrait of Pope Innocent X, the pope is shown screaming yet his voice is "silenced" by the enclosing drapes and dark rich colors which have been said to create a grotesque and nightmarish tone. The pleated curtains of the backdrop are rendered transparent and appear to fall through the representation of the pope's face.A reversed form of the portrait features on the cover of occult rock band Ghost's 2018 album Prequelle.

Category:Collection of the Galleria Doria Pamphilj

Category:Cultural depictions of Pope Innocent X

A copy made by Velázquez's circle, currently hanging at the National Gallery of Art, Washington


Portrait of Innocent X

Prompt: How does Portrait of Innocent X explain its Influence?

The 20th century artist Francis Bacon painted a series of distorted variants, often known as the "Screaming Popes", which total more than forty-five known variants executed during the 1950s and early 1960s. The picture was described by Gilles Deleuze as an example of creative re-interpretation of the classical. Bacon avoided seeing the original, but the painting remained the single greatest influence on him; its presence can be seen in many of his best works from the late 1940s to the early 1960s. In Bacon's 1953 version Study after Velázquez's Portrait of Pope Innocent X, the pope is shown screaming yet his voice is "silenced" by the enclosing drapes and dark rich colors which have been said to create a grotesque and nightmarish tone. The pleated curtains of the backdrop are rendered transparent and appear to fall through the representation of the pope's face.A reversed form of the portrait features on the cover of occult rock band Ghost's 2018 album Prequelle.

Category:Collection of the Galleria Doria Pamphilj

Category:Cultural depictions of Pope Innocent X

A copy made by Velázquez's circle, currently hanging at the National Gallery of Art, Washington


Portrait of Innocent X

Prompt: In Portrait of Innocent X, how is the Influence discussed?

The 20th century artist Francis Bacon painted a series of distorted variants, often known as the "Screaming Popes", which total more than forty-five known variants executed during the 1950s and early 1960s. The picture was described by Gilles Deleuze as an example of creative re-interpretation of the classical. Bacon avoided seeing the original, but the painting remained the single greatest influence on him; its presence can be seen in many of his best works from the late 1940s to the early 1960s. In Bacon's 1953 version Study after Velázquez's Portrait of Pope Innocent X, the pope is shown screaming yet his voice is "silenced" by the enclosing drapes and dark rich colors which have been said to create a grotesque and nightmarish tone. The pleated curtains of the backdrop are rendered transparent and appear to fall through the representation of the pope's face.A reversed form of the portrait features on the cover of occult rock band Ghost's 2018 album Prequelle.

Category:Collection of the Galleria Doria Pamphilj

Category:Cultural depictions of Pope Innocent X

A copy made by Velázquez's circle, currently hanging at the National Gallery of Art, Washington


Prompt: Focus on Triptych of the Temptation of St. Anthony and explain the abstract.

The Triptych of Temptation of St. Anthony is an oil painting on wood panels by the Early Netherlandish painter Hieronymus Bosch, dating from around 1501. The work portrays the mental and spiritual torments endured by Saint Anthony the Great (Anthony Abbot), one of the most prominent of the Desert Fathers of Egypt in the late 3rd and early 4th centuries. The Temptation of St. Anthony was a popular subject in Medieval and Renaissance art. In common with many of Bosch's works, the triptych contains much fantastic imagery. The painting hangs in the Museu Nacional de Arte Antiga in Lisbon.

The closed triptych showing the ''Arrest of Christ'' and ''Christ carrying the cross''

Temptation of Saint Anthony in visual arts

Category:Paintings in the National Museum of Ancient Art


Prompt: Explain the abstract of this artwork, Triptych of the Temptation of St. Anthony.

The Triptych of Temptation of St. Anthony is an oil painting on wood panels by the Early Netherlandish painter Hieronymus Bosch, dating from around 1501. The work portrays the mental and spiritual torments endured by Saint Anthony the Great (Anthony Abbot), one of the most prominent of the Desert Fathers of Egypt in the late 3rd and early 4th centuries. The Temptation of St. Anthony was a popular subject in Medieval and Renaissance art. In common with many of Bosch's works, the triptych contains much fantastic imagery. The painting hangs in the Museu Nacional de Arte Antiga in Lisbon.

The closed triptych showing the ''Arrest of Christ'' and ''Christ carrying the cross''

Temptation of Saint Anthony in visual arts

Category:Paintings in the National Museum of Ancient Art