Liberty Leading the People

Prompt: In Liberty Leading the People, how is the Symbolism discussed?

Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious École Polytechnique wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists


Liberty Leading the People

Prompt: Focus on Liberty Leading the People and explain the Purchase and exhibition.

The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime,Champfleury wrote in August 1848 that it had been "hidden in an attic for being too revolutionary." Although Louis-Philippe's Ministry of the Interior initially acquired it as a gesture to the Left, after the uprising at the funeral of Lamarque in June 1832 it was never again openly displayed for fear of setting a bad example. Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring 2.99 metres (9.8 feet) high by 3.62 metres (11.9 feet) long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription ("AE911") on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.In September 2023, officials removed the work from display for its latest conservation and restoration. To prepare, the museum first subjected the painting to X-ray, ultraviolet and infrared analysis. These examinations led to the discovery that many of the painting's brilliant colors were muted under several layers of yellowed varnish and dust. The size of the canvas forced conservators to perform all work on-site.  The restored painting returned to display in April 2024. During their work, restorers discovered several things hidden under eight layers of varnish and dirt.  In addition to the vivid white clouds and plumes of smoke, they found the central figure's dress was not entirely yellow but originally light grey with bits of gold.  They believed this change occurred during restoration work completed in 1949.  Also, they discovered a boot in the lower left corner which for many years had blended into the paving stones.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists


Liberty Leading the People

Prompt: Explain the Purchase and exhibition of this artwork, Liberty Leading the People.

The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime,Champfleury wrote in August 1848 that it had been "hidden in an attic for being too revolutionary." Although Louis-Philippe's Ministry of the Interior initially acquired it as a gesture to the Left, after the uprising at the funeral of Lamarque in June 1832 it was never again openly displayed for fear of setting a bad example. Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring 2.99 metres (9.8 feet) high by 3.62 metres (11.9 feet) long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription ("AE911") on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.In September 2023, officials removed the work from display for its latest conservation and restoration. To prepare, the museum first subjected the painting to X-ray, ultraviolet and infrared analysis. These examinations led to the discovery that many of the painting's brilliant colors were muted under several layers of yellowed varnish and dust. The size of the canvas forced conservators to perform all work on-site.  The restored painting returned to display in April 2024. During their work, restorers discovered several things hidden under eight layers of varnish and dirt.  In addition to the vivid white clouds and plumes of smoke, they found the central figure's dress was not entirely yellow but originally light grey with bits of gold.  They believed this change occurred during restoration work completed in 1949.  Also, they discovered a boot in the lower left corner which for many years had blended into the paving stones.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists


Liberty Leading the People

Prompt: How does Liberty Leading the People explain its Purchase and exhibition?

The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime,Champfleury wrote in August 1848 that it had been "hidden in an attic for being too revolutionary." Although Louis-Philippe's Ministry of the Interior initially acquired it as a gesture to the Left, after the uprising at the funeral of Lamarque in June 1832 it was never again openly displayed for fear of setting a bad example. Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring 2.99 metres (9.8 feet) high by 3.62 metres (11.9 feet) long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription ("AE911") on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.In September 2023, officials removed the work from display for its latest conservation and restoration. To prepare, the museum first subjected the painting to X-ray, ultraviolet and infrared analysis. These examinations led to the discovery that many of the painting's brilliant colors were muted under several layers of yellowed varnish and dust. The size of the canvas forced conservators to perform all work on-site.  The restored painting returned to display in April 2024. During their work, restorers discovered several things hidden under eight layers of varnish and dirt.  In addition to the vivid white clouds and plumes of smoke, they found the central figure's dress was not entirely yellow but originally light grey with bits of gold.  They believed this change occurred during restoration work completed in 1949.  Also, they discovered a boot in the lower left corner which for many years had blended into the paving stones.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists


Liberty Leading the People

Prompt: In Liberty Leading the People, how is the Purchase and exhibition discussed?

The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime,Champfleury wrote in August 1848 that it had been "hidden in an attic for being too revolutionary." Although Louis-Philippe's Ministry of the Interior initially acquired it as a gesture to the Left, after the uprising at the funeral of Lamarque in June 1832 it was never again openly displayed for fear of setting a bad example. Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring 2.99 metres (9.8 feet) high by 3.62 metres (11.9 feet) long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription ("AE911") on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.In September 2023, officials removed the work from display for its latest conservation and restoration. To prepare, the museum first subjected the painting to X-ray, ultraviolet and infrared analysis. These examinations led to the discovery that many of the painting's brilliant colors were muted under several layers of yellowed varnish and dust. The size of the canvas forced conservators to perform all work on-site.  The restored painting returned to display in April 2024. During their work, restorers discovered several things hidden under eight layers of varnish and dirt.  In addition to the vivid white clouds and plumes of smoke, they found the central figure's dress was not entirely yellow but originally light grey with bits of gold.  They believed this change occurred during restoration work completed in 1949.  Also, they discovered a boot in the lower left corner which for many years had blended into the paving stones.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists


Liberty Leading the People

Prompt: Focus on Liberty Leading the People and explain the Legacy.

Although Delacroix was not the first artist to depict Liberty in a Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne, a symbol of the French Republic and of France in general.The painting may have influenced Victor Hugo's 1862 novel Les Misérables. In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistols-wielding boy running over the barricade. The novel describes the events of the June Rebellion two years after the revolution celebrated in the painting, the same rebellion that led to its being removed from public view.The painting inspired Frédéric Auguste Bartholdi's Liberty Enlightening the World, known as the Statue of Liberty in New York City, which was given to the United States as a gift from the French a half-century after Liberty Leading the People was painted. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the 100 franc note from 1978 to 1995.The painting has had an influence on classical music. George Antheil titled his Symphony No. 6 After Delacroix, and stated that the work was inspired by Liberty Leading the People.  The imagery was adapted by Robert Ballagh to commemorate Ireland's independence struggle on an Irish postage stamp in 1979, the centenary of the birth of Pádraig Pearse, and the painting was used for the band Coldplay's 2008 album cover Viva la Vida or Death and All His Friends, with the words Viva La Vida written in white.  Rigoberta Bandini references the painting in the chorus of her 2021 song Ay mamá. The cover of the 2010 book Enough is Enough: How to Build a New Republic by Fintan O'Toole references the painting, but with Kathleen Ni Houlihan holding the Irish tricolour in Dublin while the leaders of the three main political parties at the time (Brian Cowen, Enda Kenny and Eamon Gilmore) lie on the ground.During the 20 October 2011 episode of the BBC Radio 4 series In Our Time, host Melvyn Bragg led a panel discussion of the painting.Liberty Leading the People made an appearance in the 11th episode ("EDGELORD – Revolution of the 14-Year-Olds") of the Netflix animation series Ghost in the Shell: SAC 2045.The painting was featured in Vincenzo, a 2021 South Korean TV series starring Song Joong-ki in episode 7. The series is also available on Netflix.A photograph of Aed Abu Amro taken during the 2018–2019 Gaza border protests by Mustafa Hassona on 22 October 2018, was considered by some a personification of the Liberty Leading the People.Libery Leading the People makes a prominent appearance in the 2023 film John Wick Chapter 4, starring Keanu Reeves. Near the end of the second act, main antagonist,  Marquis Vincent de Garmont (Bill Skarsgård) is seen standing before Liberty Leading the People inside the Louvre Museum, which was famously closed to the public for the filming of the scenes.Actors recreated the painting during the Opening Ceremonies of the 2024 Olympics at the Conciergerie. During the recreation, they were accompanied by the French version of "Do You Hear The People Sing?" from Les Misérables.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists


Liberty Leading the People

Prompt: Explain the Legacy of this artwork, Liberty Leading the People.

Although Delacroix was not the first artist to depict Liberty in a Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne, a symbol of the French Republic and of France in general.The painting may have influenced Victor Hugo's 1862 novel Les Misérables. In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistols-wielding boy running over the barricade. The novel describes the events of the June Rebellion two years after the revolution celebrated in the painting, the same rebellion that led to its being removed from public view.The painting inspired Frédéric Auguste Bartholdi's Liberty Enlightening the World, known as the Statue of Liberty in New York City, which was given to the United States as a gift from the French a half-century after Liberty Leading the People was painted. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the 100 franc note from 1978 to 1995.The painting has had an influence on classical music. George Antheil titled his Symphony No. 6 After Delacroix, and stated that the work was inspired by Liberty Leading the People.  The imagery was adapted by Robert Ballagh to commemorate Ireland's independence struggle on an Irish postage stamp in 1979, the centenary of the birth of Pádraig Pearse, and the painting was used for the band Coldplay's 2008 album cover Viva la Vida or Death and All His Friends, with the words Viva La Vida written in white.  Rigoberta Bandini references the painting in the chorus of her 2021 song Ay mamá. The cover of the 2010 book Enough is Enough: How to Build a New Republic by Fintan O'Toole references the painting, but with Kathleen Ni Houlihan holding the Irish tricolour in Dublin while the leaders of the three main political parties at the time (Brian Cowen, Enda Kenny and Eamon Gilmore) lie on the ground.During the 20 October 2011 episode of the BBC Radio 4 series In Our Time, host Melvyn Bragg led a panel discussion of the painting.Liberty Leading the People made an appearance in the 11th episode ("EDGELORD – Revolution of the 14-Year-Olds") of the Netflix animation series Ghost in the Shell: SAC 2045.The painting was featured in Vincenzo, a 2021 South Korean TV series starring Song Joong-ki in episode 7. The series is also available on Netflix.A photograph of Aed Abu Amro taken during the 2018–2019 Gaza border protests by Mustafa Hassona on 22 October 2018, was considered by some a personification of the Liberty Leading the People.Libery Leading the People makes a prominent appearance in the 2023 film John Wick Chapter 4, starring Keanu Reeves. Near the end of the second act, main antagonist,  Marquis Vincent de Garmont (Bill Skarsgård) is seen standing before Liberty Leading the People inside the Louvre Museum, which was famously closed to the public for the filming of the scenes.Actors recreated the painting during the Opening Ceremonies of the 2024 Olympics at the Conciergerie. During the recreation, they were accompanied by the French version of "Do You Hear The People Sing?" from Les Misérables.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists


Liberty Leading the People

Prompt: How does Liberty Leading the People explain its Legacy?

Although Delacroix was not the first artist to depict Liberty in a Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne, a symbol of the French Republic and of France in general.The painting may have influenced Victor Hugo's 1862 novel Les Misérables. In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistols-wielding boy running over the barricade. The novel describes the events of the June Rebellion two years after the revolution celebrated in the painting, the same rebellion that led to its being removed from public view.The painting inspired Frédéric Auguste Bartholdi's Liberty Enlightening the World, known as the Statue of Liberty in New York City, which was given to the United States as a gift from the French a half-century after Liberty Leading the People was painted. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the 100 franc note from 1978 to 1995.The painting has had an influence on classical music. George Antheil titled his Symphony No. 6 After Delacroix, and stated that the work was inspired by Liberty Leading the People.  The imagery was adapted by Robert Ballagh to commemorate Ireland's independence struggle on an Irish postage stamp in 1979, the centenary of the birth of Pádraig Pearse, and the painting was used for the band Coldplay's 2008 album cover Viva la Vida or Death and All His Friends, with the words Viva La Vida written in white.  Rigoberta Bandini references the painting in the chorus of her 2021 song Ay mamá. The cover of the 2010 book Enough is Enough: How to Build a New Republic by Fintan O'Toole references the painting, but with Kathleen Ni Houlihan holding the Irish tricolour in Dublin while the leaders of the three main political parties at the time (Brian Cowen, Enda Kenny and Eamon Gilmore) lie on the ground.During the 20 October 2011 episode of the BBC Radio 4 series In Our Time, host Melvyn Bragg led a panel discussion of the painting.Liberty Leading the People made an appearance in the 11th episode ("EDGELORD – Revolution of the 14-Year-Olds") of the Netflix animation series Ghost in the Shell: SAC 2045.The painting was featured in Vincenzo, a 2021 South Korean TV series starring Song Joong-ki in episode 7. The series is also available on Netflix.A photograph of Aed Abu Amro taken during the 2018–2019 Gaza border protests by Mustafa Hassona on 22 October 2018, was considered by some a personification of the Liberty Leading the People.Libery Leading the People makes a prominent appearance in the 2023 film John Wick Chapter 4, starring Keanu Reeves. Near the end of the second act, main antagonist,  Marquis Vincent de Garmont (Bill Skarsgård) is seen standing before Liberty Leading the People inside the Louvre Museum, which was famously closed to the public for the filming of the scenes.Actors recreated the painting during the Opening Ceremonies of the 2024 Olympics at the Conciergerie. During the recreation, they were accompanied by the French version of "Do You Hear The People Sing?" from Les Misérables.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists


Liberty Leading the People

Prompt: In Liberty Leading the People, how is the Legacy discussed?

Although Delacroix was not the first artist to depict Liberty in a Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne, a symbol of the French Republic and of France in general.The painting may have influenced Victor Hugo's 1862 novel Les Misérables. In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistols-wielding boy running over the barricade. The novel describes the events of the June Rebellion two years after the revolution celebrated in the painting, the same rebellion that led to its being removed from public view.The painting inspired Frédéric Auguste Bartholdi's Liberty Enlightening the World, known as the Statue of Liberty in New York City, which was given to the United States as a gift from the French a half-century after Liberty Leading the People was painted. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the 100 franc note from 1978 to 1995.The painting has had an influence on classical music. George Antheil titled his Symphony No. 6 After Delacroix, and stated that the work was inspired by Liberty Leading the People.  The imagery was adapted by Robert Ballagh to commemorate Ireland's independence struggle on an Irish postage stamp in 1979, the centenary of the birth of Pádraig Pearse, and the painting was used for the band Coldplay's 2008 album cover Viva la Vida or Death and All His Friends, with the words Viva La Vida written in white.  Rigoberta Bandini references the painting in the chorus of her 2021 song Ay mamá. The cover of the 2010 book Enough is Enough: How to Build a New Republic by Fintan O'Toole references the painting, but with Kathleen Ni Houlihan holding the Irish tricolour in Dublin while the leaders of the three main political parties at the time (Brian Cowen, Enda Kenny and Eamon Gilmore) lie on the ground.During the 20 October 2011 episode of the BBC Radio 4 series In Our Time, host Melvyn Bragg led a panel discussion of the painting.Liberty Leading the People made an appearance in the 11th episode ("EDGELORD – Revolution of the 14-Year-Olds") of the Netflix animation series Ghost in the Shell: SAC 2045.The painting was featured in Vincenzo, a 2021 South Korean TV series starring Song Joong-ki in episode 7. The series is also available on Netflix.A photograph of Aed Abu Amro taken during the 2018–2019 Gaza border protests by Mustafa Hassona on 22 October 2018, was considered by some a personification of the Liberty Leading the People.Libery Leading the People makes a prominent appearance in the 2023 film John Wick Chapter 4, starring Keanu Reeves. Near the end of the second act, main antagonist,  Marquis Vincent de Garmont (Bill Skarsgård) is seen standing before Liberty Leading the People inside the Louvre Museum, which was famously closed to the public for the filming of the scenes.Actors recreated the painting during the Opening Ceremonies of the 2024 Olympics at the Conciergerie. During the recreation, they were accompanied by the French version of "Do You Hear The People Sing?" from Les Misérables.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists


Liberty Leading the People

Prompt: Focus on Liberty Leading the People and explain the Criticism.

Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists


Liberty Leading the People

Prompt: Explain the Criticism of this artwork, Liberty Leading the People.

Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists


Liberty Leading the People

Prompt: How does Liberty Leading the People explain its Criticism?

Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists


Liberty Leading the People

Prompt: In Liberty Leading the People, how is the Criticism discussed?

Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.

File:The separation barrier which runs through Bethlehem.jpg

''Freedom for France, freedoms for the French'' (1940), a poster depicting [[Marianne

Category:Allegorical paintings by French artists

personifying the concept and Goddess of Liberty

Viva la Vida or Death and All His Friends

File:INF3-304 Unity of Strength La liberté pour la France, les libertés pour les Français.jpg

Category:Paintings in the Louvre by French artists


The School of Athens

Prompt: Focus on The School of Athens and explain the abstract.

The School of Athens (Italian: Scuola di Atene) is a fresco by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as part of a commission by Pope Julius II to decorate the rooms now called the Stanze di Raffaello in the Apostolic Palace in Vatican City. The fresco depicts a congregation of ancient philosophers, mathematicians, and scientists, with Plato and Aristotle featured in the center. The identities of most figures are ambiguous or discernable only through subtle details or allusions; among those commonly identified are Socrates, Pythagoras, Archimedes, Heraclitus, Averroes, and Zarathustra. Additionally, Italian artists Leonardo da Vinci and Michelangelo are believed to be portrayed through Plato and Heraclitus, respectively. Raphael included a self-portrait beside Ptolemy. Raphael is the only character who is looking directly at the viewer in the artwork.The painting is notable for its use of accurate perspective projection, a defining characteristic of Renaissance art, which Raphael learned from Leonardo; likewise, the themes of the painting, such as the rebirth of Ancient Greek philosophy and culture in Europe were inspired by Leonardo's individual pursuits in theatre, engineering, optics, geometry, physiology, anatomy, history, architecture and art.The School of Athens is regarded as one of Raphael's best-known works and has been described as his "masterpiece and the perfect embodiment of the classical spirit of the Renaissance".

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the abstract of this artwork, The School of Athens.

The School of Athens (Italian: Scuola di Atene) is a fresco by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as part of a commission by Pope Julius II to decorate the rooms now called the Stanze di Raffaello in the Apostolic Palace in Vatican City. The fresco depicts a congregation of ancient philosophers, mathematicians, and scientists, with Plato and Aristotle featured in the center. The identities of most figures are ambiguous or discernable only through subtle details or allusions; among those commonly identified are Socrates, Pythagoras, Archimedes, Heraclitus, Averroes, and Zarathustra. Additionally, Italian artists Leonardo da Vinci and Michelangelo are believed to be portrayed through Plato and Heraclitus, respectively. Raphael included a self-portrait beside Ptolemy. Raphael is the only character who is looking directly at the viewer in the artwork.The painting is notable for its use of accurate perspective projection, a defining characteristic of Renaissance art, which Raphael learned from Leonardo; likewise, the themes of the painting, such as the rebirth of Ancient Greek philosophy and culture in Europe were inspired by Leonardo's individual pursuits in theatre, engineering, optics, geometry, physiology, anatomy, history, architecture and art.The School of Athens is regarded as one of Raphael's best-known works and has been described as his "masterpiece and the perfect embodiment of the classical spirit of the Renaissance".

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: How does The School of Athens explain its abstract?

The School of Athens (Italian: Scuola di Atene) is a fresco by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as part of a commission by Pope Julius II to decorate the rooms now called the Stanze di Raffaello in the Apostolic Palace in Vatican City. The fresco depicts a congregation of ancient philosophers, mathematicians, and scientists, with Plato and Aristotle featured in the center. The identities of most figures are ambiguous or discernable only through subtle details or allusions; among those commonly identified are Socrates, Pythagoras, Archimedes, Heraclitus, Averroes, and Zarathustra. Additionally, Italian artists Leonardo da Vinci and Michelangelo are believed to be portrayed through Plato and Heraclitus, respectively. Raphael included a self-portrait beside Ptolemy. Raphael is the only character who is looking directly at the viewer in the artwork.The painting is notable for its use of accurate perspective projection, a defining characteristic of Renaissance art, which Raphael learned from Leonardo; likewise, the themes of the painting, such as the rebirth of Ancient Greek philosophy and culture in Europe were inspired by Leonardo's individual pursuits in theatre, engineering, optics, geometry, physiology, anatomy, history, architecture and art.The School of Athens is regarded as one of Raphael's best-known works and has been described as his "masterpiece and the perfect embodiment of the classical spirit of the Renaissance".

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the abstract discussed?

The School of Athens (Italian: Scuola di Atene) is a fresco by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as part of a commission by Pope Julius II to decorate the rooms now called the Stanze di Raffaello in the Apostolic Palace in Vatican City. The fresco depicts a congregation of ancient philosophers, mathematicians, and scientists, with Plato and Aristotle featured in the center. The identities of most figures are ambiguous or discernable only through subtle details or allusions; among those commonly identified are Socrates, Pythagoras, Archimedes, Heraclitus, Averroes, and Zarathustra. Additionally, Italian artists Leonardo da Vinci and Michelangelo are believed to be portrayed through Plato and Heraclitus, respectively. Raphael included a self-portrait beside Ptolemy. Raphael is the only character who is looking directly at the viewer in the artwork.The painting is notable for its use of accurate perspective projection, a defining characteristic of Renaissance art, which Raphael learned from Leonardo; likewise, the themes of the painting, such as the rebirth of Ancient Greek philosophy and culture in Europe were inspired by Leonardo's individual pursuits in theatre, engineering, optics, geometry, physiology, anatomy, history, architecture and art.The School of Athens is regarded as one of Raphael's best-known works and has been described as his "masterpiece and the perfect embodiment of the classical spirit of the Renaissance".

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Focus on The School of Athens and explain the Program, subject, figure identifications and interpretations.

The Stanza della Segnatura was the first of the rooms to be decorated, and The School of Athens, representing philosophy, is believed to be the third painting to be finished there, after La Disputa (Theology) on the opposite wall, and the Parnassus (Literature).The School of Athens is one of a group of four main frescoes on the walls of the Stanza (those on either side centrally interrupted by windows) that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: "Seek Knowledge of Causes", "Divine Inspiration", "Knowledge of Things Divine" (Disputa), "To Each What Is Due". Accordingly, the figures on the walls below exemplify philosophy, poetry (including music), theology, and justice. The traditional title is not Raphael's. The subject of the painting is actually philosophy, or at least ancient Greek philosophy, and its overhead tondo-label, "Causarum Cognitio", tells us what kind, as it appears to echo Aristotle's emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aristotle appear to be the central figures in the scene. However, many of the philosophers depicted sought knowledge of first causes. Many lived before Plato and Aristotle, and hardly a third were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato and Aristotle at its centre might be alluding to Pythagoras' monad.Commentators have suggested that nearly every great ancient Greek philosopher can be found in the painting, but determining which are depicted is speculative, since Raphael made no designations outside possible likenesses, and no contemporary documents explain the painting. Compounding the problem, Raphael had to invent a system of iconography to allude to various figures for whom there were no traditional visual types. For example, while the Socrates figure is immediately recognizable from Classical busts, one of the figures alleged to be Epicurus is far removed from his standard depiction. Aspects of the fresco other than the identities of the figures have also been variously interpreted, but few such interpretations are unanimously accepted among scholars. That the rhetorical gestures of Plato and Aristotle are kinds of pointing (to the heavens, and down to earth) is popularly accepted as likely. However, Plato's Timaeus – which is the book Raphael places in his hand – was a sophisticated treatment of space, time, and change, including the Earth, which guided mathematical sciences for over a millennium. Aristotle, with his four-elements theory, held that all change on Earth was owing to motions of the heavens. In the painting Aristotle carries his Ethics, which he denied could be reduced to a mathematical science. It is not certain how much the young Raphael knew of ancient philosophy, what guidance he might have had from people such as Bramante and whether a detailed program was dictated by his sponsor, Pope Julius II.Nevertheless, the fresco has often been interpreted as an exhortation to philosophy and as a visual representation of the role of Love in elevating people toward higher knowledge, in consonance with contemporary theories of Marsilio Ficino and other neo-Platonic thinkers linked to Raphael.Finally, according to Giorgio Vasari, the scene includes accurate portraits of Raphael himself, the Duke of Mantua, Zoroaster and some Evangelists.However, to Heinrich Wölfflin, "it is quite wrong to attempt interpretations of the School of Athens as an esoteric treatise ... The all-important thing was the artistic motive which expressed a physical or spiritual state, and the name of the person was a matter of indifference" in Raphael's time. Raphael's artistry then orchestrates a beautiful space, continuous with that of viewers in the Stanza, in which a great variety of human figures, each one expressing "mental states by physical actions", interact, in a "polyphony" unlike anything in earlier art, in the ongoing dialogue of Philosophy.An interpretation of the fresco relating to hidden symmetries of the figures and the star constructed by Bramante was given by Guerino Mazzola and collaborators. The main basis are two mirrored triangles on the drawing from Bramante (Euclid), which correspond to the feet positions of certain figures.Paolo Zamboni, professor of vascular surgery at the University of Ferrara, made a medical study of the painting, noting that Raphael's depiction of Michelangelo (as Heraclitus) shows varicose veins in the legs.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the Program, subject, figure identifications and interpretations of this artwork, The School of Athens.

The Stanza della Segnatura was the first of the rooms to be decorated, and The School of Athens, representing philosophy, is believed to be the third painting to be finished there, after La Disputa (Theology) on the opposite wall, and the Parnassus (Literature).The School of Athens is one of a group of four main frescoes on the walls of the Stanza (those on either side centrally interrupted by windows) that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: "Seek Knowledge of Causes", "Divine Inspiration", "Knowledge of Things Divine" (Disputa), "To Each What Is Due". Accordingly, the figures on the walls below exemplify philosophy, poetry (including music), theology, and justice. The traditional title is not Raphael's. The subject of the painting is actually philosophy, or at least ancient Greek philosophy, and its overhead tondo-label, "Causarum Cognitio", tells us what kind, as it appears to echo Aristotle's emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aristotle appear to be the central figures in the scene. However, many of the philosophers depicted sought knowledge of first causes. Many lived before Plato and Aristotle, and hardly a third were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato and Aristotle at its centre might be alluding to Pythagoras' monad.Commentators have suggested that nearly every great ancient Greek philosopher can be found in the painting, but determining which are depicted is speculative, since Raphael made no designations outside possible likenesses, and no contemporary documents explain the painting. Compounding the problem, Raphael had to invent a system of iconography to allude to various figures for whom there were no traditional visual types. For example, while the Socrates figure is immediately recognizable from Classical busts, one of the figures alleged to be Epicurus is far removed from his standard depiction. Aspects of the fresco other than the identities of the figures have also been variously interpreted, but few such interpretations are unanimously accepted among scholars. That the rhetorical gestures of Plato and Aristotle are kinds of pointing (to the heavens, and down to earth) is popularly accepted as likely. However, Plato's Timaeus – which is the book Raphael places in his hand – was a sophisticated treatment of space, time, and change, including the Earth, which guided mathematical sciences for over a millennium. Aristotle, with his four-elements theory, held that all change on Earth was owing to motions of the heavens. In the painting Aristotle carries his Ethics, which he denied could be reduced to a mathematical science. It is not certain how much the young Raphael knew of ancient philosophy, what guidance he might have had from people such as Bramante and whether a detailed program was dictated by his sponsor, Pope Julius II.Nevertheless, the fresco has often been interpreted as an exhortation to philosophy and as a visual representation of the role of Love in elevating people toward higher knowledge, in consonance with contemporary theories of Marsilio Ficino and other neo-Platonic thinkers linked to Raphael.Finally, according to Giorgio Vasari, the scene includes accurate portraits of Raphael himself, the Duke of Mantua, Zoroaster and some Evangelists.However, to Heinrich Wölfflin, "it is quite wrong to attempt interpretations of the School of Athens as an esoteric treatise ... The all-important thing was the artistic motive which expressed a physical or spiritual state, and the name of the person was a matter of indifference" in Raphael's time. Raphael's artistry then orchestrates a beautiful space, continuous with that of viewers in the Stanza, in which a great variety of human figures, each one expressing "mental states by physical actions", interact, in a "polyphony" unlike anything in earlier art, in the ongoing dialogue of Philosophy.An interpretation of the fresco relating to hidden symmetries of the figures and the star constructed by Bramante was given by Guerino Mazzola and collaborators. The main basis are two mirrored triangles on the drawing from Bramante (Euclid), which correspond to the feet positions of certain figures.Paolo Zamboni, professor of vascular surgery at the University of Ferrara, made a medical study of the painting, noting that Raphael's depiction of Michelangelo (as Heraclitus) shows varicose veins in the legs.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: How does The School of Athens explain its Program, subject, figure identifications and interpretations?

The Stanza della Segnatura was the first of the rooms to be decorated, and The School of Athens, representing philosophy, is believed to be the third painting to be finished there, after La Disputa (Theology) on the opposite wall, and the Parnassus (Literature).The School of Athens is one of a group of four main frescoes on the walls of the Stanza (those on either side centrally interrupted by windows) that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: "Seek Knowledge of Causes", "Divine Inspiration", "Knowledge of Things Divine" (Disputa), "To Each What Is Due". Accordingly, the figures on the walls below exemplify philosophy, poetry (including music), theology, and justice. The traditional title is not Raphael's. The subject of the painting is actually philosophy, or at least ancient Greek philosophy, and its overhead tondo-label, "Causarum Cognitio", tells us what kind, as it appears to echo Aristotle's emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aristotle appear to be the central figures in the scene. However, many of the philosophers depicted sought knowledge of first causes. Many lived before Plato and Aristotle, and hardly a third were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato and Aristotle at its centre might be alluding to Pythagoras' monad.Commentators have suggested that nearly every great ancient Greek philosopher can be found in the painting, but determining which are depicted is speculative, since Raphael made no designations outside possible likenesses, and no contemporary documents explain the painting. Compounding the problem, Raphael had to invent a system of iconography to allude to various figures for whom there were no traditional visual types. For example, while the Socrates figure is immediately recognizable from Classical busts, one of the figures alleged to be Epicurus is far removed from his standard depiction. Aspects of the fresco other than the identities of the figures have also been variously interpreted, but few such interpretations are unanimously accepted among scholars. That the rhetorical gestures of Plato and Aristotle are kinds of pointing (to the heavens, and down to earth) is popularly accepted as likely. However, Plato's Timaeus – which is the book Raphael places in his hand – was a sophisticated treatment of space, time, and change, including the Earth, which guided mathematical sciences for over a millennium. Aristotle, with his four-elements theory, held that all change on Earth was owing to motions of the heavens. In the painting Aristotle carries his Ethics, which he denied could be reduced to a mathematical science. It is not certain how much the young Raphael knew of ancient philosophy, what guidance he might have had from people such as Bramante and whether a detailed program was dictated by his sponsor, Pope Julius II.Nevertheless, the fresco has often been interpreted as an exhortation to philosophy and as a visual representation of the role of Love in elevating people toward higher knowledge, in consonance with contemporary theories of Marsilio Ficino and other neo-Platonic thinkers linked to Raphael.Finally, according to Giorgio Vasari, the scene includes accurate portraits of Raphael himself, the Duke of Mantua, Zoroaster and some Evangelists.However, to Heinrich Wölfflin, "it is quite wrong to attempt interpretations of the School of Athens as an esoteric treatise ... The all-important thing was the artistic motive which expressed a physical or spiritual state, and the name of the person was a matter of indifference" in Raphael's time. Raphael's artistry then orchestrates a beautiful space, continuous with that of viewers in the Stanza, in which a great variety of human figures, each one expressing "mental states by physical actions", interact, in a "polyphony" unlike anything in earlier art, in the ongoing dialogue of Philosophy.An interpretation of the fresco relating to hidden symmetries of the figures and the star constructed by Bramante was given by Guerino Mazzola and collaborators. The main basis are two mirrored triangles on the drawing from Bramante (Euclid), which correspond to the feet positions of certain figures.Paolo Zamboni, professor of vascular surgery at the University of Ferrara, made a medical study of the painting, noting that Raphael's depiction of Michelangelo (as Heraclitus) shows varicose veins in the legs.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the Program, subject, figure identifications and interpretations discussed?

The Stanza della Segnatura was the first of the rooms to be decorated, and The School of Athens, representing philosophy, is believed to be the third painting to be finished there, after La Disputa (Theology) on the opposite wall, and the Parnassus (Literature).The School of Athens is one of a group of four main frescoes on the walls of the Stanza (those on either side centrally interrupted by windows) that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: "Seek Knowledge of Causes", "Divine Inspiration", "Knowledge of Things Divine" (Disputa), "To Each What Is Due". Accordingly, the figures on the walls below exemplify philosophy, poetry (including music), theology, and justice. The traditional title is not Raphael's. The subject of the painting is actually philosophy, or at least ancient Greek philosophy, and its overhead tondo-label, "Causarum Cognitio", tells us what kind, as it appears to echo Aristotle's emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aristotle appear to be the central figures in the scene. However, many of the philosophers depicted sought knowledge of first causes. Many lived before Plato and Aristotle, and hardly a third were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato and Aristotle at its centre might be alluding to Pythagoras' monad.Commentators have suggested that nearly every great ancient Greek philosopher can be found in the painting, but determining which are depicted is speculative, since Raphael made no designations outside possible likenesses, and no contemporary documents explain the painting. Compounding the problem, Raphael had to invent a system of iconography to allude to various figures for whom there were no traditional visual types. For example, while the Socrates figure is immediately recognizable from Classical busts, one of the figures alleged to be Epicurus is far removed from his standard depiction. Aspects of the fresco other than the identities of the figures have also been variously interpreted, but few such interpretations are unanimously accepted among scholars. That the rhetorical gestures of Plato and Aristotle are kinds of pointing (to the heavens, and down to earth) is popularly accepted as likely. However, Plato's Timaeus – which is the book Raphael places in his hand – was a sophisticated treatment of space, time, and change, including the Earth, which guided mathematical sciences for over a millennium. Aristotle, with his four-elements theory, held that all change on Earth was owing to motions of the heavens. In the painting Aristotle carries his Ethics, which he denied could be reduced to a mathematical science. It is not certain how much the young Raphael knew of ancient philosophy, what guidance he might have had from people such as Bramante and whether a detailed program was dictated by his sponsor, Pope Julius II.Nevertheless, the fresco has often been interpreted as an exhortation to philosophy and as a visual representation of the role of Love in elevating people toward higher knowledge, in consonance with contemporary theories of Marsilio Ficino and other neo-Platonic thinkers linked to Raphael.Finally, according to Giorgio Vasari, the scene includes accurate portraits of Raphael himself, the Duke of Mantua, Zoroaster and some Evangelists.However, to Heinrich Wölfflin, "it is quite wrong to attempt interpretations of the School of Athens as an esoteric treatise ... The all-important thing was the artistic motive which expressed a physical or spiritual state, and the name of the person was a matter of indifference" in Raphael's time. Raphael's artistry then orchestrates a beautiful space, continuous with that of viewers in the Stanza, in which a great variety of human figures, each one expressing "mental states by physical actions", interact, in a "polyphony" unlike anything in earlier art, in the ongoing dialogue of Philosophy.An interpretation of the fresco relating to hidden symmetries of the figures and the star constructed by Bramante was given by Guerino Mazzola and collaborators. The main basis are two mirrored triangles on the drawing from Bramante (Euclid), which correspond to the feet positions of certain figures.Paolo Zamboni, professor of vascular surgery at the University of Ferrara, made a medical study of the painting, noting that Raphael's depiction of Michelangelo (as Heraclitus) shows varicose veins in the legs.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In the context of The School of Athens, explain the Figures and the Program, subject, figure identifications and interpretations.

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been ascertained. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, both as depictions of ancients and as portraits of Raphael's contemporaries. Vasari mentions a portrait of the young Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and a self-portrait of Raphael himself.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the Figures about the Program, subject, figure identifications and interpretations of this artwork, The School of Athens.

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been ascertained. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, both as depictions of ancients and as portraits of Raphael's contemporaries. Vasari mentions a portrait of the young Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and a self-portrait of Raphael himself.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the Figures of the Program, subject, figure identifications and interpretations explained?

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been ascertained. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, both as depictions of ancients and as portraits of Raphael's contemporaries. Vasari mentions a portrait of the young Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and a self-portrait of Raphael himself.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Describe the characteristics of the Figures in The School of Athens's Program, subject, figure identifications and interpretations.

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been ascertained. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, both as depictions of ancients and as portraits of Raphael's contemporaries. Vasari mentions a portrait of the young Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and a self-portrait of Raphael himself.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In the context of The School of Athens, explain the Central figures (14 and 15) and the Program, subject, figure identifications and interpretations.

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and his student Aristotle on the right. Both figures hold contemporary (of the time), bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and barefoot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youths about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane (hence in strong foreshortening), initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies: for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the visible world.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the Central figures (14 and 15) about the Program, subject, figure identifications and interpretations of this artwork, The School of Athens.

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and his student Aristotle on the right. Both figures hold contemporary (of the time), bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and barefoot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youths about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane (hence in strong foreshortening), initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies: for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the visible world.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the Central figures (14 and 15) of the Program, subject, figure identifications and interpretations explained?

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and his student Aristotle on the right. Both figures hold contemporary (of the time), bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and barefoot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youths about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane (hence in strong foreshortening), initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies: for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the visible world.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Describe the characteristics of the Central figures (14 and 15) in The School of Athens's Program, subject, figure identifications and interpretations.

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and his student Aristotle on the right. Both figures hold contemporary (of the time), bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and barefoot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youths about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane (hence in strong foreshortening), initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies: for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the visible world.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In the context of The School of Athens, explain the Setting and the Program, subject, figure identifications and interpretations.

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology (see Christianity and Paganism and Christian philosophy). The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture. The resulting architecture was similar to the then new St. Peter's Basilica.There are two sculptures in the background. The one on the left is the god Apollo, god of light, archery and music, holding a lyre. The sculpture on the right is Athena, goddess of wisdom, in her Roman guise as Minerva.The main arch, above the characters, shows a meander (also known as a Greek fret or Greek key design), a design using continuous lines that repeat in a "series of rectangular bends" which originated on pottery of the Greek Geometric period and then became widely used in ancient Greek architectural friezes.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the Setting about the Program, subject, figure identifications and interpretations of this artwork, The School of Athens.

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology (see Christianity and Paganism and Christian philosophy). The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture. The resulting architecture was similar to the then new St. Peter's Basilica.There are two sculptures in the background. The one on the left is the god Apollo, god of light, archery and music, holding a lyre. The sculpture on the right is Athena, goddess of wisdom, in her Roman guise as Minerva.The main arch, above the characters, shows a meander (also known as a Greek fret or Greek key design), a design using continuous lines that repeat in a "series of rectangular bends" which originated on pottery of the Greek Geometric period and then became widely used in ancient Greek architectural friezes.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the Setting of the Program, subject, figure identifications and interpretations explained?

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology (see Christianity and Paganism and Christian philosophy). The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture. The resulting architecture was similar to the then new St. Peter's Basilica.There are two sculptures in the background. The one on the left is the god Apollo, god of light, archery and music, holding a lyre. The sculpture on the right is Athena, goddess of wisdom, in her Roman guise as Minerva.The main arch, above the characters, shows a meander (also known as a Greek fret or Greek key design), a design using continuous lines that repeat in a "series of rectangular bends" which originated on pottery of the Greek Geometric period and then became widely used in ancient Greek architectural friezes.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Describe the characteristics of the Setting in The School of Athens's Program, subject, figure identifications and interpretations.

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology (see Christianity and Paganism and Christian philosophy). The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture. The resulting architecture was similar to the then new St. Peter's Basilica.There are two sculptures in the background. The one on the left is the god Apollo, god of light, archery and music, holding a lyre. The sculpture on the right is Athena, goddess of wisdom, in her Roman guise as Minerva.The main arch, above the characters, shows a meander (also known as a Greek fret or Greek key design), a design using continuous lines that repeat in a "series of rectangular bends" which originated on pottery of the Greek Geometric period and then became widely used in ancient Greek architectural friezes.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Focus on The School of Athens and explain the Drawings and cartoon.

A number of drawings made by Raphael as studies for the School of Athens are extant. A study for the Diogenes is in the Städel in Frankfurt while a study for the group around Pythagoras, in the lower left of the painting, is preserved in the Albertina Museum in Vienna. Several drawings, showing the two men talking while walking up the steps on the right and the Medusa on Athena's shield, the statue of Athena (Minerva) and three other statues, a study for the combat scene in the relief below Apollo and "Euclid" teaching his pupils are in the Ashmolean Museum of Art and Archaeology at the University of Oxford.The cartoon for the painting is in the Pinacoteca Ambrosiana in Milan. Missing from it is the architectural background, the figures of Heraclitus, Raphael, and Protogenes. The group of the philosophers in the left foreground strongly recall figures from Leonardo's Adoration of the Magi. Additionally, there are some engravings of the scene's sculptures by Marcantonio Raimondi; they may have been based on lost drawings by Raphael, as they do not match the fresco exactly.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the Drawings and cartoon of this artwork, The School of Athens.

A number of drawings made by Raphael as studies for the School of Athens are extant. A study for the Diogenes is in the Städel in Frankfurt while a study for the group around Pythagoras, in the lower left of the painting, is preserved in the Albertina Museum in Vienna. Several drawings, showing the two men talking while walking up the steps on the right and the Medusa on Athena's shield, the statue of Athena (Minerva) and three other statues, a study for the combat scene in the relief below Apollo and "Euclid" teaching his pupils are in the Ashmolean Museum of Art and Archaeology at the University of Oxford.The cartoon for the painting is in the Pinacoteca Ambrosiana in Milan. Missing from it is the architectural background, the figures of Heraclitus, Raphael, and Protogenes. The group of the philosophers in the left foreground strongly recall figures from Leonardo's Adoration of the Magi. Additionally, there are some engravings of the scene's sculptures by Marcantonio Raimondi; they may have been based on lost drawings by Raphael, as they do not match the fresco exactly.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: How does The School of Athens explain its Drawings and cartoon?

A number of drawings made by Raphael as studies for the School of Athens are extant. A study for the Diogenes is in the Städel in Frankfurt while a study for the group around Pythagoras, in the lower left of the painting, is preserved in the Albertina Museum in Vienna. Several drawings, showing the two men talking while walking up the steps on the right and the Medusa on Athena's shield, the statue of Athena (Minerva) and three other statues, a study for the combat scene in the relief below Apollo and "Euclid" teaching his pupils are in the Ashmolean Museum of Art and Archaeology at the University of Oxford.The cartoon for the painting is in the Pinacoteca Ambrosiana in Milan. Missing from it is the architectural background, the figures of Heraclitus, Raphael, and Protogenes. The group of the philosophers in the left foreground strongly recall figures from Leonardo's Adoration of the Magi. Additionally, there are some engravings of the scene's sculptures by Marcantonio Raimondi; they may have been based on lost drawings by Raphael, as they do not match the fresco exactly.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the Drawings and cartoon discussed?

A number of drawings made by Raphael as studies for the School of Athens are extant. A study for the Diogenes is in the Städel in Frankfurt while a study for the group around Pythagoras, in the lower left of the painting, is preserved in the Albertina Museum in Vienna. Several drawings, showing the two men talking while walking up the steps on the right and the Medusa on Athena's shield, the statue of Athena (Minerva) and three other statues, a study for the combat scene in the relief below Apollo and "Euclid" teaching his pupils are in the Ashmolean Museum of Art and Archaeology at the University of Oxford.The cartoon for the painting is in the Pinacoteca Ambrosiana in Milan. Missing from it is the architectural background, the figures of Heraclitus, Raphael, and Protogenes. The group of the philosophers in the left foreground strongly recall figures from Leonardo's Adoration of the Magi. Additionally, there are some engravings of the scene's sculptures by Marcantonio Raimondi; they may have been based on lost drawings by Raphael, as they do not match the fresco exactly.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Focus on The School of Athens and explain the Copies.

The Victoria and Albert Museum in London has a rectangular copy over 4 metres by 8 metres in size, painted on canvas, dated 1755 by Anton Raphael Mengs, on display in the eastern Cast Court.Modern reproductions of the fresco abound. For example, a full-size one can be seen in the auditorium of Old Cabell Hall at the University of Virginia. Produced in 1902 by George W. Breck to replace an older reproduction that was destroyed in a fire in 1895, it is four inches off scale from the original, because the Vatican would not allow identical reproductions of its art works. A 1689 tapestry reproduction by the Gobelins Manufactory and commissioned by Louis XIV hangs above the presiding officer's platform in the French National Assembly chamber. It had been removed in 2017 for a three-year restoration process undertaken by the Mobilier National, which manages Gobelins Manufactory.Other reproductions include: in Königsberg Cathedral, Kaliningrad by Neide, in the University of North Carolina at Asheville's Highsmith University Student Union, and a recent one in the seminar room at Baylor University's Brooks College. A copy of Raphael's School of Athens was painted on the wall of the ceremonial stairwell that leads to the famous, main-floor reading room of the Sainte-Geneviève Library in Paris.The two figures to the left of Plotinus were used as part of the cover art of both Use Your Illusion I and II albums of Guns N' Roses.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the Copies of this artwork, The School of Athens.

The Victoria and Albert Museum in London has a rectangular copy over 4 metres by 8 metres in size, painted on canvas, dated 1755 by Anton Raphael Mengs, on display in the eastern Cast Court.Modern reproductions of the fresco abound. For example, a full-size one can be seen in the auditorium of Old Cabell Hall at the University of Virginia. Produced in 1902 by George W. Breck to replace an older reproduction that was destroyed in a fire in 1895, it is four inches off scale from the original, because the Vatican would not allow identical reproductions of its art works. A 1689 tapestry reproduction by the Gobelins Manufactory and commissioned by Louis XIV hangs above the presiding officer's platform in the French National Assembly chamber. It had been removed in 2017 for a three-year restoration process undertaken by the Mobilier National, which manages Gobelins Manufactory.Other reproductions include: in Königsberg Cathedral, Kaliningrad by Neide, in the University of North Carolina at Asheville's Highsmith University Student Union, and a recent one in the seminar room at Baylor University's Brooks College. A copy of Raphael's School of Athens was painted on the wall of the ceremonial stairwell that leads to the famous, main-floor reading room of the Sainte-Geneviève Library in Paris.The two figures to the left of Plotinus were used as part of the cover art of both Use Your Illusion I and II albums of Guns N' Roses.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci