A Man with a Quilted Sleeve

Prompt: Focus on A Man with a Quilted Sleeve and explain the Attribution, date and condition.

The work's attribution and dating are based on its style, its ambiguous signature, and comparison with other Titian works, such as La Schiavona.  The dates assigned have all been in the period of about 1509–1512; a painting in the Hermitage Museum that is "obviously inspired by it" is dated 1512.  According to Nicholas Penny, the Man with a Quilted Sleeve may be Titian's earliest portrait, apart from a Knight of Malta in the Uffizi.The widely spaced letters "T V" appear as though carved into the stone parapet either side of the sleeve, with triangular dots around them.  They are usually taken as Titian's initials (his name was  "Tiziano Vecellio"), though there is a second V visible in infrared reflectography, so the painting once might have carried "the mysterious abbreviation "VV"".  This appears on various Venetian portraits of around this date, including several works attributed to Giorgione, such as the Giustiniani Portrait or the Gentleman with a book, as well as Titian's La Schiavona.  Various moral mottos, such as "virtus vincit (omnia)" ("virtue conquers all") have been proposed as the meaning. "VV" is not usually regarded as a signature, but "TV" might be Titian's. Before cleaning and restoration the signature had been added to by a later hand, so that it read TITIANUS and a monogram with the overlapping letters "TV". Like many others, the painting was at times attributed to Giorgione, well into the 20th century.The painting was cleaned in 1949, when the later parts of the signature were painted over. The blue sleeve is well preserved, parts of the face and the area around the hand are rubbed, and the sill is "extensively restored". Fine red lines representing threads in the fabric of the sleeve have now faded, and the effect of the "hollows and dimples" on its surface is somewhat reduced by "blanching" that reduces their contrast to the rest of the sleeve. Scientific imaging reveals only a little very confident underdrawing.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: Explain the Attribution, date and condition of this artwork, A Man with a Quilted Sleeve.

The work's attribution and dating are based on its style, its ambiguous signature, and comparison with other Titian works, such as La Schiavona.  The dates assigned have all been in the period of about 1509–1512; a painting in the Hermitage Museum that is "obviously inspired by it" is dated 1512.  According to Nicholas Penny, the Man with a Quilted Sleeve may be Titian's earliest portrait, apart from a Knight of Malta in the Uffizi.The widely spaced letters "T V" appear as though carved into the stone parapet either side of the sleeve, with triangular dots around them.  They are usually taken as Titian's initials (his name was  "Tiziano Vecellio"), though there is a second V visible in infrared reflectography, so the painting once might have carried "the mysterious abbreviation "VV"".  This appears on various Venetian portraits of around this date, including several works attributed to Giorgione, such as the Giustiniani Portrait or the Gentleman with a book, as well as Titian's La Schiavona.  Various moral mottos, such as "virtus vincit (omnia)" ("virtue conquers all") have been proposed as the meaning. "VV" is not usually regarded as a signature, but "TV" might be Titian's. Before cleaning and restoration the signature had been added to by a later hand, so that it read TITIANUS and a monogram with the overlapping letters "TV". Like many others, the painting was at times attributed to Giorgione, well into the 20th century.The painting was cleaned in 1949, when the later parts of the signature were painted over. The blue sleeve is well preserved, parts of the face and the area around the hand are rubbed, and the sill is "extensively restored". Fine red lines representing threads in the fabric of the sleeve have now faded, and the effect of the "hollows and dimples" on its surface is somewhat reduced by "blanching" that reduces their contrast to the rest of the sleeve. Scientific imaging reveals only a little very confident underdrawing.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: How does A Man with a Quilted Sleeve explain its Attribution, date and condition?

The work's attribution and dating are based on its style, its ambiguous signature, and comparison with other Titian works, such as La Schiavona.  The dates assigned have all been in the period of about 1509–1512; a painting in the Hermitage Museum that is "obviously inspired by it" is dated 1512.  According to Nicholas Penny, the Man with a Quilted Sleeve may be Titian's earliest portrait, apart from a Knight of Malta in the Uffizi.The widely spaced letters "T V" appear as though carved into the stone parapet either side of the sleeve, with triangular dots around them.  They are usually taken as Titian's initials (his name was  "Tiziano Vecellio"), though there is a second V visible in infrared reflectography, so the painting once might have carried "the mysterious abbreviation "VV"".  This appears on various Venetian portraits of around this date, including several works attributed to Giorgione, such as the Giustiniani Portrait or the Gentleman with a book, as well as Titian's La Schiavona.  Various moral mottos, such as "virtus vincit (omnia)" ("virtue conquers all") have been proposed as the meaning. "VV" is not usually regarded as a signature, but "TV" might be Titian's. Before cleaning and restoration the signature had been added to by a later hand, so that it read TITIANUS and a monogram with the overlapping letters "TV". Like many others, the painting was at times attributed to Giorgione, well into the 20th century.The painting was cleaned in 1949, when the later parts of the signature were painted over. The blue sleeve is well preserved, parts of the face and the area around the hand are rubbed, and the sill is "extensively restored". Fine red lines representing threads in the fabric of the sleeve have now faded, and the effect of the "hollows and dimples" on its surface is somewhat reduced by "blanching" that reduces their contrast to the rest of the sleeve. Scientific imaging reveals only a little very confident underdrawing.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: In A Man with a Quilted Sleeve, how is the Attribution, date and condition discussed?

The work's attribution and dating are based on its style, its ambiguous signature, and comparison with other Titian works, such as La Schiavona.  The dates assigned have all been in the period of about 1509–1512; a painting in the Hermitage Museum that is "obviously inspired by it" is dated 1512.  According to Nicholas Penny, the Man with a Quilted Sleeve may be Titian's earliest portrait, apart from a Knight of Malta in the Uffizi.The widely spaced letters "T V" appear as though carved into the stone parapet either side of the sleeve, with triangular dots around them.  They are usually taken as Titian's initials (his name was  "Tiziano Vecellio"), though there is a second V visible in infrared reflectography, so the painting once might have carried "the mysterious abbreviation "VV"".  This appears on various Venetian portraits of around this date, including several works attributed to Giorgione, such as the Giustiniani Portrait or the Gentleman with a book, as well as Titian's La Schiavona.  Various moral mottos, such as "virtus vincit (omnia)" ("virtue conquers all") have been proposed as the meaning. "VV" is not usually regarded as a signature, but "TV" might be Titian's. Before cleaning and restoration the signature had been added to by a later hand, so that it read TITIANUS and a monogram with the overlapping letters "TV". Like many others, the painting was at times attributed to Giorgione, well into the 20th century.The painting was cleaned in 1949, when the later parts of the signature were painted over. The blue sleeve is well preserved, parts of the face and the area around the hand are rubbed, and the sill is "extensively restored". Fine red lines representing threads in the fabric of the sleeve have now faded, and the effect of the "hollows and dimples" on its surface is somewhat reduced by "blanching" that reduces their contrast to the rest of the sleeve. Scientific imaging reveals only a little very confident underdrawing.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: Focus on A Man with a Quilted Sleeve and explain the Identity of sitter.

From at least the 1630s until the late 19th century it was thought to be a portrait of the poet Ludovico Ariosto, but this is dismissed by all modern critics.  Even when it entered the National Gallery in 1904 it was only "tentatively" so identified, as it does not resemble other portraits of Ariosto, such as (probably) one by Palma Vecchio also in the Gallery.It was first suggested in 1895 (by Jean Paul Richter) that it portrays a man from the Barbarigo family, as a Titian portrait of "a gentleman from the House of Barbarigo, [the artist's] friend, who he held in high esteem", "in a doublet of silvered satin" was described by Vasari in his Life of Titian. The family was then at the height of its power, and had supplied two Doges of Venice in succession from 1485 to 1501.The Barberigo identification has met with some resistance. Charles Hope, reviewing an exhibition including the piece in the National Gallery in the London Review of Books concluded that claims on early Titian are still too speculative, asking "Why not admit that we still don’t know very much about Venetian painting in the first decade of the 16th century, instead of pretending to a knowledge that we do not possess?" Nonetheless, this theory was supported by the National Gallery in the title they used in 2017; Gerolamo Barberigo, who became thirty in 1509 at the time the portrait was painted, has been chosen as the most likely member of the family to be represented.  Thirty was the age at which patrician Venetian men became qualified for significant political roles, and perhaps a good moment to commission a portrait. There is another portrait, in Alnwick Castle and usually attributed to Palma Vecchio, which might show the same sitter and also be by Titian.Cecil Gould and Kenneth Clark thought that the painting might be a self-portrait by Titian; there are no other certain ones from before his old age with which to compare the likeness. The pose is convenient for a right-handed artist painting himself in a mirror, and the convex mirrors of the day may have lengthened the face slightly, and account for the slightly supercilious air of the subject, seeming to look down his nose at the viewer.  At this point in his career Titian was becoming known as a portrait painter, and might have wished to advertise his skill to future clients by having a self-portrait to show them.Rembrandt saw the painting in Amsterdam and the next year copied the pose in his Self-portrait at the age of 34 (also National Gallery) as well as a self-portrait etching of 1639, Self-portrait leaning on a Sill (Bartsch number B21).  In both of these, as in many others of his self-portraits, his costume is in many ways more from Titian's period than his own.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: Explain the Identity of sitter of this artwork, A Man with a Quilted Sleeve.

From at least the 1630s until the late 19th century it was thought to be a portrait of the poet Ludovico Ariosto, but this is dismissed by all modern critics.  Even when it entered the National Gallery in 1904 it was only "tentatively" so identified, as it does not resemble other portraits of Ariosto, such as (probably) one by Palma Vecchio also in the Gallery.It was first suggested in 1895 (by Jean Paul Richter) that it portrays a man from the Barbarigo family, as a Titian portrait of "a gentleman from the House of Barbarigo, [the artist's] friend, who he held in high esteem", "in a doublet of silvered satin" was described by Vasari in his Life of Titian. The family was then at the height of its power, and had supplied two Doges of Venice in succession from 1485 to 1501.The Barberigo identification has met with some resistance. Charles Hope, reviewing an exhibition including the piece in the National Gallery in the London Review of Books concluded that claims on early Titian are still too speculative, asking "Why not admit that we still don’t know very much about Venetian painting in the first decade of the 16th century, instead of pretending to a knowledge that we do not possess?" Nonetheless, this theory was supported by the National Gallery in the title they used in 2017; Gerolamo Barberigo, who became thirty in 1509 at the time the portrait was painted, has been chosen as the most likely member of the family to be represented.  Thirty was the age at which patrician Venetian men became qualified for significant political roles, and perhaps a good moment to commission a portrait. There is another portrait, in Alnwick Castle and usually attributed to Palma Vecchio, which might show the same sitter and also be by Titian.Cecil Gould and Kenneth Clark thought that the painting might be a self-portrait by Titian; there are no other certain ones from before his old age with which to compare the likeness. The pose is convenient for a right-handed artist painting himself in a mirror, and the convex mirrors of the day may have lengthened the face slightly, and account for the slightly supercilious air of the subject, seeming to look down his nose at the viewer.  At this point in his career Titian was becoming known as a portrait painter, and might have wished to advertise his skill to future clients by having a self-portrait to show them.Rembrandt saw the painting in Amsterdam and the next year copied the pose in his Self-portrait at the age of 34 (also National Gallery) as well as a self-portrait etching of 1639, Self-portrait leaning on a Sill (Bartsch number B21).  In both of these, as in many others of his self-portraits, his costume is in many ways more from Titian's period than his own.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: How does A Man with a Quilted Sleeve explain its Identity of sitter?

From at least the 1630s until the late 19th century it was thought to be a portrait of the poet Ludovico Ariosto, but this is dismissed by all modern critics.  Even when it entered the National Gallery in 1904 it was only "tentatively" so identified, as it does not resemble other portraits of Ariosto, such as (probably) one by Palma Vecchio also in the Gallery.It was first suggested in 1895 (by Jean Paul Richter) that it portrays a man from the Barbarigo family, as a Titian portrait of "a gentleman from the House of Barbarigo, [the artist's] friend, who he held in high esteem", "in a doublet of silvered satin" was described by Vasari in his Life of Titian. The family was then at the height of its power, and had supplied two Doges of Venice in succession from 1485 to 1501.The Barberigo identification has met with some resistance. Charles Hope, reviewing an exhibition including the piece in the National Gallery in the London Review of Books concluded that claims on early Titian are still too speculative, asking "Why not admit that we still don’t know very much about Venetian painting in the first decade of the 16th century, instead of pretending to a knowledge that we do not possess?" Nonetheless, this theory was supported by the National Gallery in the title they used in 2017; Gerolamo Barberigo, who became thirty in 1509 at the time the portrait was painted, has been chosen as the most likely member of the family to be represented.  Thirty was the age at which patrician Venetian men became qualified for significant political roles, and perhaps a good moment to commission a portrait. There is another portrait, in Alnwick Castle and usually attributed to Palma Vecchio, which might show the same sitter and also be by Titian.Cecil Gould and Kenneth Clark thought that the painting might be a self-portrait by Titian; there are no other certain ones from before his old age with which to compare the likeness. The pose is convenient for a right-handed artist painting himself in a mirror, and the convex mirrors of the day may have lengthened the face slightly, and account for the slightly supercilious air of the subject, seeming to look down his nose at the viewer.  At this point in his career Titian was becoming known as a portrait painter, and might have wished to advertise his skill to future clients by having a self-portrait to show them.Rembrandt saw the painting in Amsterdam and the next year copied the pose in his Self-portrait at the age of 34 (also National Gallery) as well as a self-portrait etching of 1639, Self-portrait leaning on a Sill (Bartsch number B21).  In both of these, as in many others of his self-portraits, his costume is in many ways more from Titian's period than his own.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: In A Man with a Quilted Sleeve, how is the Identity of sitter discussed?

From at least the 1630s until the late 19th century it was thought to be a portrait of the poet Ludovico Ariosto, but this is dismissed by all modern critics.  Even when it entered the National Gallery in 1904 it was only "tentatively" so identified, as it does not resemble other portraits of Ariosto, such as (probably) one by Palma Vecchio also in the Gallery.It was first suggested in 1895 (by Jean Paul Richter) that it portrays a man from the Barbarigo family, as a Titian portrait of "a gentleman from the House of Barbarigo, [the artist's] friend, who he held in high esteem", "in a doublet of silvered satin" was described by Vasari in his Life of Titian. The family was then at the height of its power, and had supplied two Doges of Venice in succession from 1485 to 1501.The Barberigo identification has met with some resistance. Charles Hope, reviewing an exhibition including the piece in the National Gallery in the London Review of Books concluded that claims on early Titian are still too speculative, asking "Why not admit that we still don’t know very much about Venetian painting in the first decade of the 16th century, instead of pretending to a knowledge that we do not possess?" Nonetheless, this theory was supported by the National Gallery in the title they used in 2017; Gerolamo Barberigo, who became thirty in 1509 at the time the portrait was painted, has been chosen as the most likely member of the family to be represented.  Thirty was the age at which patrician Venetian men became qualified for significant political roles, and perhaps a good moment to commission a portrait. There is another portrait, in Alnwick Castle and usually attributed to Palma Vecchio, which might show the same sitter and also be by Titian.Cecil Gould and Kenneth Clark thought that the painting might be a self-portrait by Titian; there are no other certain ones from before his old age with which to compare the likeness. The pose is convenient for a right-handed artist painting himself in a mirror, and the convex mirrors of the day may have lengthened the face slightly, and account for the slightly supercilious air of the subject, seeming to look down his nose at the viewer.  At this point in his career Titian was becoming known as a portrait painter, and might have wished to advertise his skill to future clients by having a self-portrait to show them.Rembrandt saw the painting in Amsterdam and the next year copied the pose in his Self-portrait at the age of 34 (also National Gallery) as well as a self-portrait etching of 1639, Self-portrait leaning on a Sill (Bartsch number B21).  In both of these, as in many others of his self-portraits, his costume is in many ways more from Titian's period than his own.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: Focus on A Man with a Quilted Sleeve and explain the Provenance.

The work, or possibly a copy of it, was part of the collection of Alfonso Lopez, an art dealer in Amsterdam in 1639, where Rembrandt would have seen it, and it was engraved, with an inscribed identification as Ariosto.  Still identified as Ariosto, it was apparently sold in Paris in December 1641, and a letter survives written to a friend to advise Anthony van Dyck it was up for sale, and praising it. Van Dyck may have arranged to buy it, though he would have been dead before it arrived, as he died in London on 9 December 1641. But a Titian portrait of Ariosto is mentioned in the inventory of his estate. It was possibly bought by Charles I – a Titian portrait of Ariosto was listed in a catalogue of his goods in 1644, perhaps from Van Dyck's estate.The first certain appearance of the present picture was in the collection of John Bligh, 4th Earl of Darnley at Cobham Hall by 1824; he and his successors exhibited it several times, at the British Institution, the Art Treasures Exhibition, Manchester 1857, and the Royal Academy, and it became well-known, as did a version once at Mentmore Towers that is now regarded as a copy.It was sold to Sir George Donaldson in 1904. After some negotiation, the National Gallery acquired it from Donaldson for £30,000, the price he had paid for it, with contributions from Lord Iveagh, Waldorf Astor, John Pierpont Morgan, Alfred Beit, the government, and others. The sale marked something of a turning-point, after two decades or more when outstanding works from aristocratic British collections had been allowed to cross the Atlantic, though there was a precedent in 1890, with a government grant of £25,000 for a group bought from the Earl of Radnor, including Holbein's The Ambassadors.  Similar arrangements would bring Holbein's Portrait of Christina of Denmark (1909, £72,000) and Jan Gossaert's Adoration of the Kings (1911, £40,000) to the National Gallery.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg


A Man with a Quilted Sleeve

Prompt: Explain the Provenance of this artwork, A Man with a Quilted Sleeve.

The work, or possibly a copy of it, was part of the collection of Alfonso Lopez, an art dealer in Amsterdam in 1639, where Rembrandt would have seen it, and it was engraved, with an inscribed identification as Ariosto.  Still identified as Ariosto, it was apparently sold in Paris in December 1641, and a letter survives written to a friend to advise Anthony van Dyck it was up for sale, and praising it. Van Dyck may have arranged to buy it, though he would have been dead before it arrived, as he died in London on 9 December 1641. But a Titian portrait of Ariosto is mentioned in the inventory of his estate. It was possibly bought by Charles I – a Titian portrait of Ariosto was listed in a catalogue of his goods in 1644, perhaps from Van Dyck's estate.The first certain appearance of the present picture was in the collection of John Bligh, 4th Earl of Darnley at Cobham Hall by 1824; he and his successors exhibited it several times, at the British Institution, the Art Treasures Exhibition, Manchester 1857, and the Royal Academy, and it became well-known, as did a version once at Mentmore Towers that is now regarded as a copy.It was sold to Sir George Donaldson in 1904. After some negotiation, the National Gallery acquired it from Donaldson for £30,000, the price he had paid for it, with contributions from Lord Iveagh, Waldorf Astor, John Pierpont Morgan, Alfred Beit, the government, and others. The sale marked something of a turning-point, after two decades or more when outstanding works from aristocratic British collections had been allowed to cross the Atlantic, though there was a precedent in 1890, with a government grant of £25,000 for a group bought from the Earl of Radnor, including Holbein's The Ambassadors.  Similar arrangements would bring Holbein's Portrait of Christina of Denmark (1909, £72,000) and Jan Gossaert's Adoration of the Kings (1911, £40,000) to the National Gallery.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg


A Man with a Quilted Sleeve

Prompt: How does A Man with a Quilted Sleeve explain its Provenance?

The work, or possibly a copy of it, was part of the collection of Alfonso Lopez, an art dealer in Amsterdam in 1639, where Rembrandt would have seen it, and it was engraved, with an inscribed identification as Ariosto.  Still identified as Ariosto, it was apparently sold in Paris in December 1641, and a letter survives written to a friend to advise Anthony van Dyck it was up for sale, and praising it. Van Dyck may have arranged to buy it, though he would have been dead before it arrived, as he died in London on 9 December 1641. But a Titian portrait of Ariosto is mentioned in the inventory of his estate. It was possibly bought by Charles I – a Titian portrait of Ariosto was listed in a catalogue of his goods in 1644, perhaps from Van Dyck's estate.The first certain appearance of the present picture was in the collection of John Bligh, 4th Earl of Darnley at Cobham Hall by 1824; he and his successors exhibited it several times, at the British Institution, the Art Treasures Exhibition, Manchester 1857, and the Royal Academy, and it became well-known, as did a version once at Mentmore Towers that is now regarded as a copy.It was sold to Sir George Donaldson in 1904. After some negotiation, the National Gallery acquired it from Donaldson for £30,000, the price he had paid for it, with contributions from Lord Iveagh, Waldorf Astor, John Pierpont Morgan, Alfred Beit, the government, and others. The sale marked something of a turning-point, after two decades or more when outstanding works from aristocratic British collections had been allowed to cross the Atlantic, though there was a precedent in 1890, with a government grant of £25,000 for a group bought from the Earl of Radnor, including Holbein's The Ambassadors.  Similar arrangements would bring Holbein's Portrait of Christina of Denmark (1909, £72,000) and Jan Gossaert's Adoration of the Kings (1911, £40,000) to the National Gallery.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg


A Man with a Quilted Sleeve

Prompt: In A Man with a Quilted Sleeve, how is the Provenance discussed?

The work, or possibly a copy of it, was part of the collection of Alfonso Lopez, an art dealer in Amsterdam in 1639, where Rembrandt would have seen it, and it was engraved, with an inscribed identification as Ariosto.  Still identified as Ariosto, it was apparently sold in Paris in December 1641, and a letter survives written to a friend to advise Anthony van Dyck it was up for sale, and praising it. Van Dyck may have arranged to buy it, though he would have been dead before it arrived, as he died in London on 9 December 1641. But a Titian portrait of Ariosto is mentioned in the inventory of his estate. It was possibly bought by Charles I – a Titian portrait of Ariosto was listed in a catalogue of his goods in 1644, perhaps from Van Dyck's estate.The first certain appearance of the present picture was in the collection of John Bligh, 4th Earl of Darnley at Cobham Hall by 1824; he and his successors exhibited it several times, at the British Institution, the Art Treasures Exhibition, Manchester 1857, and the Royal Academy, and it became well-known, as did a version once at Mentmore Towers that is now regarded as a copy.It was sold to Sir George Donaldson in 1904. After some negotiation, the National Gallery acquired it from Donaldson for £30,000, the price he had paid for it, with contributions from Lord Iveagh, Waldorf Astor, John Pierpont Morgan, Alfred Beit, the government, and others. The sale marked something of a turning-point, after two decades or more when outstanding works from aristocratic British collections had been allowed to cross the Atlantic, though there was a precedent in 1890, with a government grant of £25,000 for a group bought from the Earl of Radnor, including Holbein's The Ambassadors.  Similar arrangements would bring Holbein's Portrait of Christina of Denmark (1909, £72,000) and Jan Gossaert's Adoration of the Kings (1911, £40,000) to the National Gallery.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg


Madonna della Seggiola

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

The Madonna della Seggiola or The Madonna della Sedia (28" in diameter (71 cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

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

The Madonna della Seggiola or The Madonna della Sedia (28" in diameter (71 cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: How does Madonna della Seggiola explain its abstract?

The Madonna della Seggiola or The Madonna della Sedia (28" in diameter (71 cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

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

The Madonna della Seggiola or The Madonna della Sedia (28" in diameter (71 cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

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

The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads (Madonna and Christ child). Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

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

The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads (Madonna and Christ child). Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: How does Madonna della Seggiola explain its Description?

The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads (Madonna and Christ child). Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

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

The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads (Madonna and Christ child). Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: Focus on Madonna della Seggiola and explain the Provenance.

Unfortunately, the Madonna della Sedia's commission is undocumented despite it being created while Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican Stanze and loggia of the Vatican, including the paintings Incendio del Borgo, Battle of Ostia, and Coronation of Charlemagne. Most of Raphael's commissions for this period were under the strict guidance of Pope Leo X (Giovanni di Lorenzo de' Medici), who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to Pope Julius II (Giuliano della Rovere) who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the Madonna della Sedia is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.Already in the Gallerie Degli Uffizi, it was then moved to the Pitti Palace by the beginning of the eighteenth century. It was listed in inventories in 1723 and 1761 as being on display in the Grand Prince Ferdinando's bedroom. It was later moved throughout the Rooms of the Planets, starting with the Room of Jupiter (c. 1771) and later the Room of Mars (c. 1793), after the Leopoldine rearrangement of the picture gallery. Towards the end of the eighteenth century, it was taken during the Napoleonic looting of Florence and was in Paris from 1799 to 1815. Back in Florence, the painting has been in the Room of Saturn since 1882.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: Explain the Provenance of this artwork, Madonna della Seggiola.

Unfortunately, the Madonna della Sedia's commission is undocumented despite it being created while Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican Stanze and loggia of the Vatican, including the paintings Incendio del Borgo, Battle of Ostia, and Coronation of Charlemagne. Most of Raphael's commissions for this period were under the strict guidance of Pope Leo X (Giovanni di Lorenzo de' Medici), who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to Pope Julius II (Giuliano della Rovere) who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the Madonna della Sedia is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.Already in the Gallerie Degli Uffizi, it was then moved to the Pitti Palace by the beginning of the eighteenth century. It was listed in inventories in 1723 and 1761 as being on display in the Grand Prince Ferdinando's bedroom. It was later moved throughout the Rooms of the Planets, starting with the Room of Jupiter (c. 1771) and later the Room of Mars (c. 1793), after the Leopoldine rearrangement of the picture gallery. Towards the end of the eighteenth century, it was taken during the Napoleonic looting of Florence and was in Paris from 1799 to 1815. Back in Florence, the painting has been in the Room of Saturn since 1882.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: How does Madonna della Seggiola explain its Provenance?

Unfortunately, the Madonna della Sedia's commission is undocumented despite it being created while Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican Stanze and loggia of the Vatican, including the paintings Incendio del Borgo, Battle of Ostia, and Coronation of Charlemagne. Most of Raphael's commissions for this period were under the strict guidance of Pope Leo X (Giovanni di Lorenzo de' Medici), who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to Pope Julius II (Giuliano della Rovere) who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the Madonna della Sedia is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.Already in the Gallerie Degli Uffizi, it was then moved to the Pitti Palace by the beginning of the eighteenth century. It was listed in inventories in 1723 and 1761 as being on display in the Grand Prince Ferdinando's bedroom. It was later moved throughout the Rooms of the Planets, starting with the Room of Jupiter (c. 1771) and later the Room of Mars (c. 1793), after the Leopoldine rearrangement of the picture gallery. Towards the end of the eighteenth century, it was taken during the Napoleonic looting of Florence and was in Paris from 1799 to 1815. Back in Florence, the painting has been in the Room of Saturn since 1882.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: In Madonna della Seggiola, how is the Provenance discussed?

Unfortunately, the Madonna della Sedia's commission is undocumented despite it being created while Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican Stanze and loggia of the Vatican, including the paintings Incendio del Borgo, Battle of Ostia, and Coronation of Charlemagne. Most of Raphael's commissions for this period were under the strict guidance of Pope Leo X (Giovanni di Lorenzo de' Medici), who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to Pope Julius II (Giuliano della Rovere) who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the Madonna della Sedia is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.Already in the Gallerie Degli Uffizi, it was then moved to the Pitti Palace by the beginning of the eighteenth century. It was listed in inventories in 1723 and 1761 as being on display in the Grand Prince Ferdinando's bedroom. It was later moved throughout the Rooms of the Planets, starting with the Room of Jupiter (c. 1771) and later the Room of Mars (c. 1793), after the Leopoldine rearrangement of the picture gallery. Towards the end of the eighteenth century, it was taken during the Napoleonic looting of Florence and was in Paris from 1799 to 1815. Back in Florence, the painting has been in the Room of Saturn since 1882.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: Focus on Madonna della Seggiola and explain the Techniques.

The Madonna della Sedia is the culmination of Raphael's use of the tondo form and influenced an equivalent singular male portrait, The Portrait of Baldassare Castiglione (c. 1514–1515). The painting is oil on panel, with St John the Baptist painted in a different key range. The painted black background is lacking the usual landscape, which typically would harmonize all the colors and figures. The composition is entirely from Raphael's hand, which was a result of him shuddering off the legacies of Leonardo da Vinci and Pietro Perugino, who early on had influenced his career and style substantially. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his Florentine period. The figures' accommodation to the shape is skillful. The painting also revolutionized the Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is radically different when comparing it to an earlier Madonna portrait, The Alba Madonna (c. 1510).The painting also revolutionized singular portrait painting during the Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ child seems to be the basis of both the Madonna and Saint John the Baptist's proportions and relationship within the painting.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: Explain the Techniques of this artwork, Madonna della Seggiola.

The Madonna della Sedia is the culmination of Raphael's use of the tondo form and influenced an equivalent singular male portrait, The Portrait of Baldassare Castiglione (c. 1514–1515). The painting is oil on panel, with St John the Baptist painted in a different key range. The painted black background is lacking the usual landscape, which typically would harmonize all the colors and figures. The composition is entirely from Raphael's hand, which was a result of him shuddering off the legacies of Leonardo da Vinci and Pietro Perugino, who early on had influenced his career and style substantially. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his Florentine period. The figures' accommodation to the shape is skillful. The painting also revolutionized the Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is radically different when comparing it to an earlier Madonna portrait, The Alba Madonna (c. 1510).The painting also revolutionized singular portrait painting during the Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ child seems to be the basis of both the Madonna and Saint John the Baptist's proportions and relationship within the painting.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: How does Madonna della Seggiola explain its Techniques?

The Madonna della Sedia is the culmination of Raphael's use of the tondo form and influenced an equivalent singular male portrait, The Portrait of Baldassare Castiglione (c. 1514–1515). The painting is oil on panel, with St John the Baptist painted in a different key range. The painted black background is lacking the usual landscape, which typically would harmonize all the colors and figures. The composition is entirely from Raphael's hand, which was a result of him shuddering off the legacies of Leonardo da Vinci and Pietro Perugino, who early on had influenced his career and style substantially. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his Florentine period. The figures' accommodation to the shape is skillful. The painting also revolutionized the Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is radically different when comparing it to an earlier Madonna portrait, The Alba Madonna (c. 1510).The painting also revolutionized singular portrait painting during the Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ child seems to be the basis of both the Madonna and Saint John the Baptist's proportions and relationship within the painting.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: In Madonna della Seggiola, how is the Techniques discussed?

The Madonna della Sedia is the culmination of Raphael's use of the tondo form and influenced an equivalent singular male portrait, The Portrait of Baldassare Castiglione (c. 1514–1515). The painting is oil on panel, with St John the Baptist painted in a different key range. The painted black background is lacking the usual landscape, which typically would harmonize all the colors and figures. The composition is entirely from Raphael's hand, which was a result of him shuddering off the legacies of Leonardo da Vinci and Pietro Perugino, who early on had influenced his career and style substantially. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his Florentine period. The figures' accommodation to the shape is skillful. The painting also revolutionized the Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is radically different when comparing it to an earlier Madonna portrait, The Alba Madonna (c. 1510).The painting also revolutionized singular portrait painting during the Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ child seems to be the basis of both the Madonna and Saint John the Baptist's proportions and relationship within the painting.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: Focus on Madonna della Seggiola and explain the Influences on Other Artists.

The Madonna della Sedia has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of Raphael's Madonnas. There are a few enchanting legends connected to the Madonna della Sedia painting, one being about a beautiful Urbino peasant girl, who was as good as she was beautiful, charitable, and pious, who gave her assistance to an ill hermit she had stumbled upon. The hermit rewarded the girl by blessing her and stating that she would be painted as the mother of God. Many years later, on a sunny day holding her infant in the garden and with her toddler son playing at her knees, she was spotted by a handsome young man at her garden gate. That young man was Raphael Sanzio who immediately said he would like to paint her as she sat there with her two sons, later represented as the original Virgin, Christ child, and St. John.Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by Johann Michael Wittmer.Ingres greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of Henri IV playing with his children and Raphael and La Fornarina on the table in front of the subject in his Portrait of monsieur Rivière. The image was worked into the carpet in Napoleon I on his Imperial Throne.Johann Zoffany also included this painting along with many others in his 1770s painting of the Tribuna of the Uffizi.In 1858, Nathaniel Hawthorne wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for Prince Consort for his Raphael Collection, which is conserved at the Royal Collection Trust.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: Explain the Influences on Other Artists of this artwork, Madonna della Seggiola.

The Madonna della Sedia has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of Raphael's Madonnas. There are a few enchanting legends connected to the Madonna della Sedia painting, one being about a beautiful Urbino peasant girl, who was as good as she was beautiful, charitable, and pious, who gave her assistance to an ill hermit she had stumbled upon. The hermit rewarded the girl by blessing her and stating that she would be painted as the mother of God. Many years later, on a sunny day holding her infant in the garden and with her toddler son playing at her knees, she was spotted by a handsome young man at her garden gate. That young man was Raphael Sanzio who immediately said he would like to paint her as she sat there with her two sons, later represented as the original Virgin, Christ child, and St. John.Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by Johann Michael Wittmer.Ingres greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of Henri IV playing with his children and Raphael and La Fornarina on the table in front of the subject in his Portrait of monsieur Rivière. The image was worked into the carpet in Napoleon I on his Imperial Throne.Johann Zoffany also included this painting along with many others in his 1770s painting of the Tribuna of the Uffizi.In 1858, Nathaniel Hawthorne wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for Prince Consort for his Raphael Collection, which is conserved at the Royal Collection Trust.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: How does Madonna della Seggiola explain its Influences on Other Artists?

The Madonna della Sedia has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of Raphael's Madonnas. There are a few enchanting legends connected to the Madonna della Sedia painting, one being about a beautiful Urbino peasant girl, who was as good as she was beautiful, charitable, and pious, who gave her assistance to an ill hermit she had stumbled upon. The hermit rewarded the girl by blessing her and stating that she would be painted as the mother of God. Many years later, on a sunny day holding her infant in the garden and with her toddler son playing at her knees, she was spotted by a handsome young man at her garden gate. That young man was Raphael Sanzio who immediately said he would like to paint her as she sat there with her two sons, later represented as the original Virgin, Christ child, and St. John.Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by Johann Michael Wittmer.Ingres greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of Henri IV playing with his children and Raphael and La Fornarina on the table in front of the subject in his Portrait of monsieur Rivière. The image was worked into the carpet in Napoleon I on his Imperial Throne.Johann Zoffany also included this painting along with many others in his 1770s painting of the Tribuna of the Uffizi.In 1858, Nathaniel Hawthorne wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for Prince Consort for his Raphael Collection, which is conserved at the Royal Collection Trust.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: In Madonna della Seggiola, how is the Influences on Other Artists discussed?

The Madonna della Sedia has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of Raphael's Madonnas. There are a few enchanting legends connected to the Madonna della Sedia painting, one being about a beautiful Urbino peasant girl, who was as good as she was beautiful, charitable, and pious, who gave her assistance to an ill hermit she had stumbled upon. The hermit rewarded the girl by blessing her and stating that she would be painted as the mother of God. Many years later, on a sunny day holding her infant in the garden and with her toddler son playing at her knees, she was spotted by a handsome young man at her garden gate. That young man was Raphael Sanzio who immediately said he would like to paint her as she sat there with her two sons, later represented as the original Virgin, Christ child, and St. John.Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by Johann Michael Wittmer.Ingres greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of Henri IV playing with his children and Raphael and La Fornarina on the table in front of the subject in his Portrait of monsieur Rivière. The image was worked into the carpet in Napoleon I on his Imperial Throne.Johann Zoffany also included this painting along with many others in his 1770s painting of the Tribuna of the Uffizi.In 1858, Nathaniel Hawthorne wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for Prince Consort for his Raphael Collection, which is conserved at the Royal Collection Trust.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


The Bacchanal of the Andrians

Prompt: Focus on The Bacchanal of the Andrians and explain the abstract.

The Bacchanal of the Andrians or The Andrians is an oil painting by Titian. It is signed "TICIANUS F.[aciebat]" and is dated to 1523–1526.

Category:Mythological paintings by Titian

File:The Andrians (Peter Paul Rubens) - Nationalmuseum - 17603.tif

Category:Paintings by Titian in the Museo del Prado

File:Tiziano, Bacchanal of the Andrians 02.jpg

Category:Paintings commissioned for the camerini d'alabastro


The Bacchanal of the Andrians

Prompt: Explain the abstract of this artwork, The Bacchanal of the Andrians.

The Bacchanal of the Andrians or The Andrians is an oil painting by Titian. It is signed "TICIANUS F.[aciebat]" and is dated to 1523–1526.

Category:Mythological paintings by Titian

File:The Andrians (Peter Paul Rubens) - Nationalmuseum - 17603.tif

Category:Paintings by Titian in the Museo del Prado

File:Tiziano, Bacchanal of the Andrians 02.jpg

Category:Paintings commissioned for the camerini d'alabastro


The Bacchanal of the Andrians

Prompt: How does The Bacchanal of the Andrians explain its abstract?

The Bacchanal of the Andrians or The Andrians is an oil painting by Titian. It is signed "TICIANUS F.[aciebat]" and is dated to 1523–1526.

Category:Mythological paintings by Titian

File:The Andrians (Peter Paul Rubens) - Nationalmuseum - 17603.tif

Category:Paintings by Titian in the Museo del Prado

File:Tiziano, Bacchanal of the Andrians 02.jpg

Category:Paintings commissioned for the camerini d'alabastro


The Bacchanal of the Andrians

Prompt: In The Bacchanal of the Andrians, how is the abstract discussed?

The Bacchanal of the Andrians or The Andrians is an oil painting by Titian. It is signed "TICIANUS F.[aciebat]" and is dated to 1523–1526.

Category:Mythological paintings by Titian

File:The Andrians (Peter Paul Rubens) - Nationalmuseum - 17603.tif

Category:Paintings by Titian in the Museo del Prado

File:Tiziano, Bacchanal of the Andrians 02.jpg

Category:Paintings commissioned for the camerini d'alabastro


The Bacchanal of the Andrians

Prompt: Focus on The Bacchanal of the Andrians and explain the History.

The painting was made by Titian for the Sala dei Baccanali in the Camerini d'alabastro for Alfonso I d'Este, after The Worship of Venus (1518–1519) and Bacchus and Ariadne (1520–1523) and Titian's intervention on The Feast of the Gods by Bellini in 1524–1525 where he retouched the landscape to match the style of the other paintings.In 1598, control of Ferrara passed to the Papal State and the Este family had to withdraw to Modena. During the transfer, cardinal and papal legate Pietro Aldobrandini appropriated many paintings, among which were The Bacchanal and The Worship of Venus. Aldobrandini never exhibited the taken paintings. His theft only became known in 1629 after the paintings had come into the Ludovisi inheritance and then were sold to the Duke of Monterrey in payment of the Principality of Piombino. They were then donated to Philip IV of Spain in 1639. The first documentation of the paintings in Spain date to the inventories of the Royal Alcázar of Madrid in 1666, 1686, and 1700.The three canvases of Titian were admired and copied as much in Italy as in Spain by artists like Pieter Paul Rubens, Guido Reni, Nicolas Poussin, and Diego Velázquez, and they contributed to the development of the Baroque style. Rubens' copies of The Bacchanal are housed at the Nationalmuseum in Stockholm. The Italian artist Domenichino famously wept upon hearing that the masterpieces had left Italy.: 70 In 1782, British painter Joshua Reynolds admired The Bacchanal, which inspired him to draw a parallel between Titian and the Latin poet Virgil:"What was said of Virgil, that he  threw even filth about the ground with an air of dignity, may be applied to Titian; whatever he touched, however naturally mean and habitually familiar, by a kind of magic he invested with grandeur and importance."The painting is now held at the Museo del Prado in Madrid.

Category:Mythological paintings by Titian

File:The Andrians (Peter Paul Rubens) - Nationalmuseum - 17603.tif

Category:Paintings by Titian in the Museo del Prado

File:Tiziano, Bacchanal of the Andrians 02.jpg

Category:Paintings commissioned for the camerini d'alabastro


The Bacchanal of the Andrians

Prompt: Explain the History of this artwork, The Bacchanal of the Andrians.

The painting was made by Titian for the Sala dei Baccanali in the Camerini d'alabastro for Alfonso I d'Este, after The Worship of Venus (1518–1519) and Bacchus and Ariadne (1520–1523) and Titian's intervention on The Feast of the Gods by Bellini in 1524–1525 where he retouched the landscape to match the style of the other paintings.In 1598, control of Ferrara passed to the Papal State and the Este family had to withdraw to Modena. During the transfer, cardinal and papal legate Pietro Aldobrandini appropriated many paintings, among which were The Bacchanal and The Worship of Venus. Aldobrandini never exhibited the taken paintings. His theft only became known in 1629 after the paintings had come into the Ludovisi inheritance and then were sold to the Duke of Monterrey in payment of the Principality of Piombino. They were then donated to Philip IV of Spain in 1639. The first documentation of the paintings in Spain date to the inventories of the Royal Alcázar of Madrid in 1666, 1686, and 1700.The three canvases of Titian were admired and copied as much in Italy as in Spain by artists like Pieter Paul Rubens, Guido Reni, Nicolas Poussin, and Diego Velázquez, and they contributed to the development of the Baroque style. Rubens' copies of The Bacchanal are housed at the Nationalmuseum in Stockholm. The Italian artist Domenichino famously wept upon hearing that the masterpieces had left Italy.: 70 In 1782, British painter Joshua Reynolds admired The Bacchanal, which inspired him to draw a parallel between Titian and the Latin poet Virgil:"What was said of Virgil, that he  threw even filth about the ground with an air of dignity, may be applied to Titian; whatever he touched, however naturally mean and habitually familiar, by a kind of magic he invested with grandeur and importance."The painting is now held at the Museo del Prado in Madrid.

Category:Mythological paintings by Titian

File:The Andrians (Peter Paul Rubens) - Nationalmuseum - 17603.tif

Category:Paintings by Titian in the Museo del Prado

File:Tiziano, Bacchanal of the Andrians 02.jpg

Category:Paintings commissioned for the camerini d'alabastro


The Bacchanal of the Andrians

Prompt: How does The Bacchanal of the Andrians explain its History?

The painting was made by Titian for the Sala dei Baccanali in the Camerini d'alabastro for Alfonso I d'Este, after The Worship of Venus (1518–1519) and Bacchus and Ariadne (1520–1523) and Titian's intervention on The Feast of the Gods by Bellini in 1524–1525 where he retouched the landscape to match the style of the other paintings.In 1598, control of Ferrara passed to the Papal State and the Este family had to withdraw to Modena. During the transfer, cardinal and papal legate Pietro Aldobrandini appropriated many paintings, among which were The Bacchanal and The Worship of Venus. Aldobrandini never exhibited the taken paintings. His theft only became known in 1629 after the paintings had come into the Ludovisi inheritance and then were sold to the Duke of Monterrey in payment of the Principality of Piombino. They were then donated to Philip IV of Spain in 1639. The first documentation of the paintings in Spain date to the inventories of the Royal Alcázar of Madrid in 1666, 1686, and 1700.The three canvases of Titian were admired and copied as much in Italy as in Spain by artists like Pieter Paul Rubens, Guido Reni, Nicolas Poussin, and Diego Velázquez, and they contributed to the development of the Baroque style. Rubens' copies of The Bacchanal are housed at the Nationalmuseum in Stockholm. The Italian artist Domenichino famously wept upon hearing that the masterpieces had left Italy.: 70 In 1782, British painter Joshua Reynolds admired The Bacchanal, which inspired him to draw a parallel between Titian and the Latin poet Virgil:"What was said of Virgil, that he  threw even filth about the ground with an air of dignity, may be applied to Titian; whatever he touched, however naturally mean and habitually familiar, by a kind of magic he invested with grandeur and importance."The painting is now held at the Museo del Prado in Madrid.

Category:Mythological paintings by Titian

File:The Andrians (Peter Paul Rubens) - Nationalmuseum - 17603.tif

Category:Paintings by Titian in the Museo del Prado

File:Tiziano, Bacchanal of the Andrians 02.jpg

Category:Paintings commissioned for the camerini d'alabastro


The Bacchanal of the Andrians

Prompt: In The Bacchanal of the Andrians, how is the History discussed?

The painting was made by Titian for the Sala dei Baccanali in the Camerini d'alabastro for Alfonso I d'Este, after The Worship of Venus (1518–1519) and Bacchus and Ariadne (1520–1523) and Titian's intervention on The Feast of the Gods by Bellini in 1524–1525 where he retouched the landscape to match the style of the other paintings.In 1598, control of Ferrara passed to the Papal State and the Este family had to withdraw to Modena. During the transfer, cardinal and papal legate Pietro Aldobrandini appropriated many paintings, among which were The Bacchanal and The Worship of Venus. Aldobrandini never exhibited the taken paintings. His theft only became known in 1629 after the paintings had come into the Ludovisi inheritance and then were sold to the Duke of Monterrey in payment of the Principality of Piombino. They were then donated to Philip IV of Spain in 1639. The first documentation of the paintings in Spain date to the inventories of the Royal Alcázar of Madrid in 1666, 1686, and 1700.The three canvases of Titian were admired and copied as much in Italy as in Spain by artists like Pieter Paul Rubens, Guido Reni, Nicolas Poussin, and Diego Velázquez, and they contributed to the development of the Baroque style. Rubens' copies of The Bacchanal are housed at the Nationalmuseum in Stockholm. The Italian artist Domenichino famously wept upon hearing that the masterpieces had left Italy.: 70 In 1782, British painter Joshua Reynolds admired The Bacchanal, which inspired him to draw a parallel between Titian and the Latin poet Virgil:"What was said of Virgil, that he  threw even filth about the ground with an air of dignity, may be applied to Titian; whatever he touched, however naturally mean and habitually familiar, by a kind of magic he invested with grandeur and importance."The painting is now held at the Museo del Prado in Madrid.

Category:Mythological paintings by Titian

File:The Andrians (Peter Paul Rubens) - Nationalmuseum - 17603.tif

Category:Paintings by Titian in the Museo del Prado

File:Tiziano, Bacchanal of the Andrians 02.jpg

Category:Paintings commissioned for the camerini d'alabastro


The Bacchanal of the Andrians

Prompt: In the context of The Bacchanal of the Andrians, explain the Mythology and the Description and style.

The painting is set on the island of Andros. A sleeping nymph and a urinating boy are seen in the lower right foreground while men and women celebrate with jugs of wine. The absence of Bacchus from the painting is explained by Erwin Panofsky, who suggests that the god must be on the departing ship seen in the center background. Due to the artistic liberties Titian took in painting these figures, it is difficult to identify them.The decorative programme included other major paintings celebrating Bacchus and Venus, the gods of wine and love. Like its predecessor Bacchus and Ariadne, The Bacchanal of the Andrians was inspired by the Imagines of Philostratus.

Category:Mythological paintings by Titian

File:The Andrians (Peter Paul Rubens) - Nationalmuseum - 17603.tif

Category:Paintings by Titian in the Museo del Prado

File:Tiziano, Bacchanal of the Andrians 02.jpg

Category:Paintings commissioned for the camerini d'alabastro


The Bacchanal of the Andrians

Prompt: Explain the Mythology about the Description and style of this artwork, The Bacchanal of the Andrians.

The painting is set on the island of Andros. A sleeping nymph and a urinating boy are seen in the lower right foreground while men and women celebrate with jugs of wine. The absence of Bacchus from the painting is explained by Erwin Panofsky, who suggests that the god must be on the departing ship seen in the center background. Due to the artistic liberties Titian took in painting these figures, it is difficult to identify them.The decorative programme included other major paintings celebrating Bacchus and Venus, the gods of wine and love. Like its predecessor Bacchus and Ariadne, The Bacchanal of the Andrians was inspired by the Imagines of Philostratus.

Category:Mythological paintings by Titian

File:The Andrians (Peter Paul Rubens) - Nationalmuseum - 17603.tif

Category:Paintings by Titian in the Museo del Prado

File:Tiziano, Bacchanal of the Andrians 02.jpg

Category:Paintings commissioned for the camerini d'alabastro


The Bacchanal of the Andrians

Prompt: In The Bacchanal of the Andrians, how is the Mythology of the Description and style explained?

The painting is set on the island of Andros. A sleeping nymph and a urinating boy are seen in the lower right foreground while men and women celebrate with jugs of wine. The absence of Bacchus from the painting is explained by Erwin Panofsky, who suggests that the god must be on the departing ship seen in the center background. Due to the artistic liberties Titian took in painting these figures, it is difficult to identify them.The decorative programme included other major paintings celebrating Bacchus and Venus, the gods of wine and love. Like its predecessor Bacchus and Ariadne, The Bacchanal of the Andrians was inspired by the Imagines of Philostratus.

Category:Mythological paintings by Titian

File:The Andrians (Peter Paul Rubens) - Nationalmuseum - 17603.tif

Category:Paintings by Titian in the Museo del Prado

File:Tiziano, Bacchanal of the Andrians 02.jpg

Category:Paintings commissioned for the camerini d'alabastro