Tomioka Tessai

Prompt: How does Tomioka Tessai explain its Biography?

Tessai was born in either 1836 or 1837 in Kyoto, as the second son of Tomioka Korenobu, who sold sacerdotal robes. Because his hearing was not good his parents decided he should be a scholar, rather than a merchant. He was educated as a scholar in classical Chinese philosophy and literature and the ancient Japanese classics under noted kokugaku scholar Okuni Tadamasa.Tessai's father died in 1843, when he was only seven. The family fortunes declined, and young Tessai became a page at a Shinto shrine. Twelve years later, he came to be lodged with the now-famous Buddhist poet and nun Ōtagaki Rengetsu, who would become his greatest scholarly mentor and supporter. He developed his own style over the next decade or so, studying under a number of accomplished painters.In 1861, Tessai opened a private school in Rengetsu's house to teach painting; he went on to become a teacher at the newly inaugurated Ritsumeikan University in 1868. He also did some work for the new Meiji government, contributing maps and topographical charts he created. Throughout the Meiji period, Tessai traveled extensively, visiting famous and scenic places that would later become subjects of his paintings. He was able to see many different sides of the country all the way from Nagasaki to Hokkaidō. He also served as a Shinto priest at a number of different shrines, but ultimately resigned from his final post when his brother died, so that he could look after his mother.After Tessai settled back in Kyoto in 1882, he championed the old styles of Japanese traditional painting against the new influences of Western art (yōga), then becoming more and more popular, and was thus a participant in the early nihonga movement.Tessai's early works followed the bunjinga styles of the early 19th century, although he also worked in almost all of the styles associated with Kyoto: Rimpa, Yamato-e, Otsu-e, etc. However, his mature style concentrated on Nanga, or Chinese style paintings based on the late Ming dynasty artists from Suzhou and Jiangsu Provinces, which had been introduced to Japan by Sakaki Hyakusen. Tessai tended towards use of rich colors to portray scenes of people in landscapes, with a composition intended to evoke or illustrate a historical or literary episode. He also sometimes made use of religious imagery, combining depictions of Buddhist bodhisattva with Daoist or Confucian figures to symbolize the unity of Asian religious traditions. Tessai's final works either use very brilliant colors, or else were monochrome ink with dense, rough brushwork and occasional slight jarring touches of bright pigments.In the 1890s, he was appointed a judge of the Young Men's Society of Painting, and became a professor at the Kyoto Fine Arts School soon afterwards. He also took part in the founding of several other art associations, including the Nanga Association of Japan. His mother died in 1895, but Tessai continued to have close relations with his family and gained a granddaughter several years later.In 1907, he was appointed official painter to Emperor Meiji, who so liked his works that his commission was extended to cover the Imperial Household Agency as a court painter in 1917. He was also appointed a member of the Imperial Fine Arts Academy (Teikoku Bijutsu-in) in 1919.Throughout his life, Tessai served as a Shinto priest and a scholar. He was an extremely prolific painter, and it is estimated that he painted approximately 20,000 paintings in the course of his career. On one occasion he completed 70 paintings in a single day. Tessai's best works were created in the last years of his life, from age 80 to his death in 1924 at age 88.The largest collection of Tessai's works is at the Tessai Memorial Museum, a private art museum within the grounds of the Kiyoshikojin Seicho-ji, a Buddhist temple in Takarazuka, Hyogo. His art is also kept in the Princeton University Art Museum, University of Michigan Museum of Art, the National Museum of Asian Art, the British Museum, the Seattle Art Museum, the Metropolitan Museum of Art, the Nelson-Atkins Museum of Art, the Birmingham Museum of Art, the Minneapolis Institute of Art, and the Museum of Fine Arts, Boston.

Wikipedia:Manual of Style (Japan-related articles)#Person_names

Category:People from the Empire of Japan


Tomioka Tessai

Prompt: In Tomioka Tessai, how is the Biography discussed?

Tessai was born in either 1836 or 1837 in Kyoto, as the second son of Tomioka Korenobu, who sold sacerdotal robes. Because his hearing was not good his parents decided he should be a scholar, rather than a merchant. He was educated as a scholar in classical Chinese philosophy and literature and the ancient Japanese classics under noted kokugaku scholar Okuni Tadamasa.Tessai's father died in 1843, when he was only seven. The family fortunes declined, and young Tessai became a page at a Shinto shrine. Twelve years later, he came to be lodged with the now-famous Buddhist poet and nun Ōtagaki Rengetsu, who would become his greatest scholarly mentor and supporter. He developed his own style over the next decade or so, studying under a number of accomplished painters.In 1861, Tessai opened a private school in Rengetsu's house to teach painting; he went on to become a teacher at the newly inaugurated Ritsumeikan University in 1868. He also did some work for the new Meiji government, contributing maps and topographical charts he created. Throughout the Meiji period, Tessai traveled extensively, visiting famous and scenic places that would later become subjects of his paintings. He was able to see many different sides of the country all the way from Nagasaki to Hokkaidō. He also served as a Shinto priest at a number of different shrines, but ultimately resigned from his final post when his brother died, so that he could look after his mother.After Tessai settled back in Kyoto in 1882, he championed the old styles of Japanese traditional painting against the new influences of Western art (yōga), then becoming more and more popular, and was thus a participant in the early nihonga movement.Tessai's early works followed the bunjinga styles of the early 19th century, although he also worked in almost all of the styles associated with Kyoto: Rimpa, Yamato-e, Otsu-e, etc. However, his mature style concentrated on Nanga, or Chinese style paintings based on the late Ming dynasty artists from Suzhou and Jiangsu Provinces, which had been introduced to Japan by Sakaki Hyakusen. Tessai tended towards use of rich colors to portray scenes of people in landscapes, with a composition intended to evoke or illustrate a historical or literary episode. He also sometimes made use of religious imagery, combining depictions of Buddhist bodhisattva with Daoist or Confucian figures to symbolize the unity of Asian religious traditions. Tessai's final works either use very brilliant colors, or else were monochrome ink with dense, rough brushwork and occasional slight jarring touches of bright pigments.In the 1890s, he was appointed a judge of the Young Men's Society of Painting, and became a professor at the Kyoto Fine Arts School soon afterwards. He also took part in the founding of several other art associations, including the Nanga Association of Japan. His mother died in 1895, but Tessai continued to have close relations with his family and gained a granddaughter several years later.In 1907, he was appointed official painter to Emperor Meiji, who so liked his works that his commission was extended to cover the Imperial Household Agency as a court painter in 1917. He was also appointed a member of the Imperial Fine Arts Academy (Teikoku Bijutsu-in) in 1919.Throughout his life, Tessai served as a Shinto priest and a scholar. He was an extremely prolific painter, and it is estimated that he painted approximately 20,000 paintings in the course of his career. On one occasion he completed 70 paintings in a single day. Tessai's best works were created in the last years of his life, from age 80 to his death in 1924 at age 88.The largest collection of Tessai's works is at the Tessai Memorial Museum, a private art museum within the grounds of the Kiyoshikojin Seicho-ji, a Buddhist temple in Takarazuka, Hyogo. His art is also kept in the Princeton University Art Museum, University of Michigan Museum of Art, the National Museum of Asian Art, the British Museum, the Seattle Art Museum, the Metropolitan Museum of Art, the Nelson-Atkins Museum of Art, the Birmingham Museum of Art, the Minneapolis Institute of Art, and the Museum of Fine Arts, Boston.

Wikipedia:Manual of Style (Japan-related articles)#Person_names

Category:People from the Empire of Japan


Tomioka Tessai

Prompt: Focus on Tomioka Tessai and explain the Important works.

「阿倍仲麻呂明州望月図」「円通大師呉門隠栖図 (1914, Important Cultural Property) Hakutaka Museum「二神会舞図」Tokyo National Museum「旧蝦夷風俗図」(1896) Tokyo National Museum「不尽山頂全図」「蓬莱仙境図」「弘法大師像図」「蘇東坡図」「武陵桃源図」 (1923)「瀛洲遷境図」 (1923)「阿倍仲麻呂在唐詠和歌図」Adachi Art Museum

Wikipedia:Manual of Style (Japan-related articles)#Person_names

Category:People from the Empire of Japan


Tomioka Tessai

Prompt: Explain the Important works of this artwork, Tomioka Tessai.

「阿倍仲麻呂明州望月図」「円通大師呉門隠栖図 (1914, Important Cultural Property) Hakutaka Museum「二神会舞図」Tokyo National Museum「旧蝦夷風俗図」(1896) Tokyo National Museum「不尽山頂全図」「蓬莱仙境図」「弘法大師像図」「蘇東坡図」「武陵桃源図」 (1923)「瀛洲遷境図」 (1923)「阿倍仲麻呂在唐詠和歌図」Adachi Art Museum

Wikipedia:Manual of Style (Japan-related articles)#Person_names

Category:People from the Empire of Japan


Tomioka Tessai

Prompt: How does Tomioka Tessai explain its Important works?

「阿倍仲麻呂明州望月図」「円通大師呉門隠栖図 (1914, Important Cultural Property) Hakutaka Museum「二神会舞図」Tokyo National Museum「旧蝦夷風俗図」(1896) Tokyo National Museum「不尽山頂全図」「蓬莱仙境図」「弘法大師像図」「蘇東坡図」「武陵桃源図」 (1923)「瀛洲遷境図」 (1923)「阿倍仲麻呂在唐詠和歌図」Adachi Art Museum

Wikipedia:Manual of Style (Japan-related articles)#Person_names

Category:People from the Empire of Japan


Tomioka Tessai

Prompt: In Tomioka Tessai, how is the Important works discussed?

「阿倍仲麻呂明州望月図」「円通大師呉門隠栖図 (1914, Important Cultural Property) Hakutaka Museum「二神会舞図」Tokyo National Museum「旧蝦夷風俗図」(1896) Tokyo National Museum「不尽山頂全図」「蓬莱仙境図」「弘法大師像図」「蘇東坡図」「武陵桃源図」 (1923)「瀛洲遷境図」 (1923)「阿倍仲麻呂在唐詠和歌図」Adachi Art Museum

Wikipedia:Manual of Style (Japan-related articles)#Person_names

Category:People from the Empire of Japan


Boy Bitten by a Lizard

Prompt: Focus on Boy Bitten by a Lizard and explain the abstract.

Boy Bitten by a Lizard (Italian: Ragazzo morso da un ramarro) is a painting by the Italian Baroque painter Caravaggio. It exists in two versions, both believed to be authentic works of Caravaggio, one in the Fondazione Roberto Longhi in Florence, the other in the National Gallery, London.

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: Explain the abstract of this artwork, Boy Bitten by a Lizard.

Boy Bitten by a Lizard (Italian: Ragazzo morso da un ramarro) is a painting by the Italian Baroque painter Caravaggio. It exists in two versions, both believed to be authentic works of Caravaggio, one in the Fondazione Roberto Longhi in Florence, the other in the National Gallery, London.

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: How does Boy Bitten by a Lizard explain its abstract?

Boy Bitten by a Lizard (Italian: Ragazzo morso da un ramarro) is a painting by the Italian Baroque painter Caravaggio. It exists in two versions, both believed to be authentic works of Caravaggio, one in the Fondazione Roberto Longhi in Florence, the other in the National Gallery, London.

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: In Boy Bitten by a Lizard, how is the abstract discussed?

Boy Bitten by a Lizard (Italian: Ragazzo morso da un ramarro) is a painting by the Italian Baroque painter Caravaggio. It exists in two versions, both believed to be authentic works of Caravaggio, one in the Fondazione Roberto Longhi in Florence, the other in the National Gallery, London.

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: Focus on Boy Bitten by a Lizard and explain the Date.

Both versions are thought to date from the period 1594–1596. According to art historian Roberto Longhi, the latter end of this period seems more likely, given that the paintings have all the signs of the early works painted in the household of Caravaggio's sophisticated patron Cardinal Francesco Del Monte, and that Caravaggio did not enter the Cardinal's Palazzo Madama until some time in 1595.

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: Explain the Date of this artwork, Boy Bitten by a Lizard.

Both versions are thought to date from the period 1594–1596. According to art historian Roberto Longhi, the latter end of this period seems more likely, given that the paintings have all the signs of the early works painted in the household of Caravaggio's sophisticated patron Cardinal Francesco Del Monte, and that Caravaggio did not enter the Cardinal's Palazzo Madama until some time in 1595.

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: How does Boy Bitten by a Lizard explain its Date?

Both versions are thought to date from the period 1594–1596. According to art historian Roberto Longhi, the latter end of this period seems more likely, given that the paintings have all the signs of the early works painted in the household of Caravaggio's sophisticated patron Cardinal Francesco Del Monte, and that Caravaggio did not enter the Cardinal's Palazzo Madama until some time in 1595.

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: In Boy Bitten by a Lizard, how is the Date discussed?

Both versions are thought to date from the period 1594–1596. According to art historian Roberto Longhi, the latter end of this period seems more likely, given that the paintings have all the signs of the early works painted in the household of Caravaggio's sophisticated patron Cardinal Francesco Del Monte, and that Caravaggio did not enter the Cardinal's Palazzo Madama until some time in 1595.

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: Focus on Boy Bitten by a Lizard and explain the Identity of model.

As with all of Caravaggio's early output, much remains conjectural, and the identity of the model has been debated. One theory is that the model was Mario Minniti, Caravaggio's companion and the model for several other paintings from the period; the bouffant, curly dark hair, and pursed lips look similar, but in other pictures such as Boy with a Basket of Fruit and The Fortune Teller Mario looks less effeminate.Michael Fried has proposed instead that the painting is a disguised self-portrait of Caravaggio. Fried argues that the subject's hands – one stretched out, the other raised up – are in a similar position to those of a painter holding a palette while painting.

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: Explain the Identity of model of this artwork, Boy Bitten by a Lizard.

As with all of Caravaggio's early output, much remains conjectural, and the identity of the model has been debated. One theory is that the model was Mario Minniti, Caravaggio's companion and the model for several other paintings from the period; the bouffant, curly dark hair, and pursed lips look similar, but in other pictures such as Boy with a Basket of Fruit and The Fortune Teller Mario looks less effeminate.Michael Fried has proposed instead that the painting is a disguised self-portrait of Caravaggio. Fried argues that the subject's hands – one stretched out, the other raised up – are in a similar position to those of a painter holding a palette while painting.

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: How does Boy Bitten by a Lizard explain its Identity of model?

As with all of Caravaggio's early output, much remains conjectural, and the identity of the model has been debated. One theory is that the model was Mario Minniti, Caravaggio's companion and the model for several other paintings from the period; the bouffant, curly dark hair, and pursed lips look similar, but in other pictures such as Boy with a Basket of Fruit and The Fortune Teller Mario looks less effeminate.Michael Fried has proposed instead that the painting is a disguised self-portrait of Caravaggio. Fried argues that the subject's hands – one stretched out, the other raised up – are in a similar position to those of a painter holding a palette while painting.

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: In Boy Bitten by a Lizard, how is the Identity of model discussed?

As with all of Caravaggio's early output, much remains conjectural, and the identity of the model has been debated. One theory is that the model was Mario Minniti, Caravaggio's companion and the model for several other paintings from the period; the bouffant, curly dark hair, and pursed lips look similar, but in other pictures such as Boy with a Basket of Fruit and The Fortune Teller Mario looks less effeminate.Michael Fried has proposed instead that the painting is a disguised self-portrait of Caravaggio. Fried argues that the subject's hands – one stretched out, the other raised up – are in a similar position to those of a painter holding a palette while painting.

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: Focus on Boy Bitten by a Lizard and explain the Symbolism.

According to Leonard J. Slatkes, the painting's symbolism likely derives from the Apollo Sauroktonos theme in which a poisonous salamander triumphs over the god, while the arrangement of various fruits suggests The Four Temperaments, with the salamander being the symbol of fire in Caravaggio's time. The salamander also had phallic connotations, and the painting might have been inspired by a Martial epigram: "Ad te reptanti, puer insidiose, lacertae Parce: cupit digitis illa perire tuis. (Spare this lizard crawling towards you, treacherous boy/It wants to die between your fingers)

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: Explain the Symbolism of this artwork, Boy Bitten by a Lizard.

According to Leonard J. Slatkes, the painting's symbolism likely derives from the Apollo Sauroktonos theme in which a poisonous salamander triumphs over the god, while the arrangement of various fruits suggests The Four Temperaments, with the salamander being the symbol of fire in Caravaggio's time. The salamander also had phallic connotations, and the painting might have been inspired by a Martial epigram: "Ad te reptanti, puer insidiose, lacertae Parce: cupit digitis illa perire tuis. (Spare this lizard crawling towards you, treacherous boy/It wants to die between your fingers)

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: How does Boy Bitten by a Lizard explain its Symbolism?

According to Leonard J. Slatkes, the painting's symbolism likely derives from the Apollo Sauroktonos theme in which a poisonous salamander triumphs over the god, while the arrangement of various fruits suggests The Four Temperaments, with the salamander being the symbol of fire in Caravaggio's time. The salamander also had phallic connotations, and the painting might have been inspired by a Martial epigram: "Ad te reptanti, puer insidiose, lacertae Parce: cupit digitis illa perire tuis. (Spare this lizard crawling towards you, treacherous boy/It wants to die between your fingers)

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: In Boy Bitten by a Lizard, how is the Symbolism discussed?

According to Leonard J. Slatkes, the painting's symbolism likely derives from the Apollo Sauroktonos theme in which a poisonous salamander triumphs over the god, while the arrangement of various fruits suggests The Four Temperaments, with the salamander being the symbol of fire in Caravaggio's time. The salamander also had phallic connotations, and the painting might have been inspired by a Martial epigram: "Ad te reptanti, puer insidiose, lacertae Parce: cupit digitis illa perire tuis. (Spare this lizard crawling towards you, treacherous boy/It wants to die between your fingers)

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: Focus on Boy Bitten by a Lizard and explain the Style.

The affected pose may have been the inevitable result of the experiment Caravaggio appears to have been undertaking here: observing and recording acute emotions – surprise and fear – in a situation where real surprise was impossible and where the pose had to be held for a considerable period. Critics of Caravaggio's insistence on painting only from life would later point out this limitation of his method: it lent itself to marvelously realistic (if theatrical) static compositions, but not to scenes involving movement and violence. It would only be in his late period, when he seems to have worked more from imagination, that Caravaggio would be able to completely overcome this problem. Nevertheless, Boy Bitten by a Lizard is an important work in the artist's early oeuvre precisely because it shows a way out from the airless stillness of very early works such as Boy Peeling a Fruit and Sick Bacchus, and even the implied violence but actual stasis of pieces such as Cardsharps.

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: Explain the Style of this artwork, Boy Bitten by a Lizard.

The affected pose may have been the inevitable result of the experiment Caravaggio appears to have been undertaking here: observing and recording acute emotions – surprise and fear – in a situation where real surprise was impossible and where the pose had to be held for a considerable period. Critics of Caravaggio's insistence on painting only from life would later point out this limitation of his method: it lent itself to marvelously realistic (if theatrical) static compositions, but not to scenes involving movement and violence. It would only be in his late period, when he seems to have worked more from imagination, that Caravaggio would be able to completely overcome this problem. Nevertheless, Boy Bitten by a Lizard is an important work in the artist's early oeuvre precisely because it shows a way out from the airless stillness of very early works such as Boy Peeling a Fruit and Sick Bacchus, and even the implied violence but actual stasis of pieces such as Cardsharps.

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: How does Boy Bitten by a Lizard explain its Style?

The affected pose may have been the inevitable result of the experiment Caravaggio appears to have been undertaking here: observing and recording acute emotions – surprise and fear – in a situation where real surprise was impossible and where the pose had to be held for a considerable period. Critics of Caravaggio's insistence on painting only from life would later point out this limitation of his method: it lent itself to marvelously realistic (if theatrical) static compositions, but not to scenes involving movement and violence. It would only be in his late period, when he seems to have worked more from imagination, that Caravaggio would be able to completely overcome this problem. Nevertheless, Boy Bitten by a Lizard is an important work in the artist's early oeuvre precisely because it shows a way out from the airless stillness of very early works such as Boy Peeling a Fruit and Sick Bacchus, and even the implied violence but actual stasis of pieces such as Cardsharps.

Category:Paintings in the National Gallery, London


Boy Bitten by a Lizard

Prompt: In Boy Bitten by a Lizard, how is the Style discussed?

The affected pose may have been the inevitable result of the experiment Caravaggio appears to have been undertaking here: observing and recording acute emotions – surprise and fear – in a situation where real surprise was impossible and where the pose had to be held for a considerable period. Critics of Caravaggio's insistence on painting only from life would later point out this limitation of his method: it lent itself to marvelously realistic (if theatrical) static compositions, but not to scenes involving movement and violence. It would only be in his late period, when he seems to have worked more from imagination, that Caravaggio would be able to completely overcome this problem. Nevertheless, Boy Bitten by a Lizard is an important work in the artist's early oeuvre precisely because it shows a way out from the airless stillness of very early works such as Boy Peeling a Fruit and Sick Bacchus, and even the implied violence but actual stasis of pieces such as Cardsharps.

Category:Paintings in the National Gallery, London


The Fifer

Prompt: Focus on The Fifer and explain the abstract.

The Fifer or Young Flautist is a painting by French painter Édouard Manet, made in 1866. It is usually kept in the Musée d'Orsay, Paris.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


The Fifer

Prompt: Explain the abstract of this artwork, The Fifer.

The Fifer or Young Flautist is a painting by French painter Édouard Manet, made in 1866. It is usually kept in the Musée d'Orsay, Paris.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


The Fifer

Prompt: How does The Fifer explain its abstract?

The Fifer or Young Flautist is a painting by French painter Édouard Manet, made in 1866. It is usually kept in the Musée d'Orsay, Paris.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


The Fifer

Prompt: In The Fifer, how is the abstract discussed?

The Fifer or Young Flautist is a painting by French painter Édouard Manet, made in 1866. It is usually kept in the Musée d'Orsay, Paris.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


The Fifer

Prompt: Focus on The Fifer and explain the History.

On a trip to Spain in 1865, Édouard Manet visited the Prado, where the art of Diego Velázquez was a revelation. Upon his return to Paris in 1866, he began work on a new painting, depicting an anonymous regimental fifer of the Spanish army. In this picture, Manet presents the uniformed boy, in a manner that imitates and inverts the formula of Vélazquez's court portraits, against a barely inflected, flattened background of neutral tone, thus frustrating attempts to assess the figure's true size and, by extension, importance.The painting, entitled Le fifre, was rejected by the jury of the Salon of 1866. Outraged by the jury's decision, Émile Zola, an early champion of Manet's art, published a series of articles in the newspaper L'Évenement, that praised Manet's realist style and modern content.  Following the example of Gustave Courbet, in May 1867, Manet personally funded and mounted an exhibition of his own work in a pavilion at the edge of the Éxposition universelle. The exhibition included Le fifre, which was ridiculed in the popular press for its unusual brushwork and inscrutable spatial setting.The painting was acquired by Durand-Ruell in 1872 and again in 1893. Between 1873 and 1893, the painting was owned by Manet's friend, composer and baritone Jean-Baptiste Faure.  It was included in a large exhibition of Manet's work in 1884, a year after his premature death.Le fifre was accepted by the French government in lieu of taxes on the estate of its last private owner, the Count Isaac de Camondo, and entered the national collections in 1911. It was displayed at the Louvre from 1914 until 1947, when it was relocated to the Musée du Jeu de Paume. It was included in the sweeping Manet retrospective held at the Grand Palais in 1983, the 100th anniversary of the artist's death.In 1986, it was moved to its current home in the Musée d'Orsay, the national museum of 19th-century art.  It has since traveled in exposition; for example, in 2017 and 2018 it was on loan to the Louvre Abu Dhabi museum in Abu Dhabi, UAE.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


The Fifer

Prompt: Explain the History of this artwork, The Fifer.

On a trip to Spain in 1865, Édouard Manet visited the Prado, where the art of Diego Velázquez was a revelation. Upon his return to Paris in 1866, he began work on a new painting, depicting an anonymous regimental fifer of the Spanish army. In this picture, Manet presents the uniformed boy, in a manner that imitates and inverts the formula of Vélazquez's court portraits, against a barely inflected, flattened background of neutral tone, thus frustrating attempts to assess the figure's true size and, by extension, importance.The painting, entitled Le fifre, was rejected by the jury of the Salon of 1866. Outraged by the jury's decision, Émile Zola, an early champion of Manet's art, published a series of articles in the newspaper L'Évenement, that praised Manet's realist style and modern content.  Following the example of Gustave Courbet, in May 1867, Manet personally funded and mounted an exhibition of his own work in a pavilion at the edge of the Éxposition universelle. The exhibition included Le fifre, which was ridiculed in the popular press for its unusual brushwork and inscrutable spatial setting.The painting was acquired by Durand-Ruell in 1872 and again in 1893. Between 1873 and 1893, the painting was owned by Manet's friend, composer and baritone Jean-Baptiste Faure.  It was included in a large exhibition of Manet's work in 1884, a year after his premature death.Le fifre was accepted by the French government in lieu of taxes on the estate of its last private owner, the Count Isaac de Camondo, and entered the national collections in 1911. It was displayed at the Louvre from 1914 until 1947, when it was relocated to the Musée du Jeu de Paume. It was included in the sweeping Manet retrospective held at the Grand Palais in 1983, the 100th anniversary of the artist's death.In 1986, it was moved to its current home in the Musée d'Orsay, the national museum of 19th-century art.  It has since traveled in exposition; for example, in 2017 and 2018 it was on loan to the Louvre Abu Dhabi museum in Abu Dhabi, UAE.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


The Fifer

Prompt: How does The Fifer explain its History?

On a trip to Spain in 1865, Édouard Manet visited the Prado, where the art of Diego Velázquez was a revelation. Upon his return to Paris in 1866, he began work on a new painting, depicting an anonymous regimental fifer of the Spanish army. In this picture, Manet presents the uniformed boy, in a manner that imitates and inverts the formula of Vélazquez's court portraits, against a barely inflected, flattened background of neutral tone, thus frustrating attempts to assess the figure's true size and, by extension, importance.The painting, entitled Le fifre, was rejected by the jury of the Salon of 1866. Outraged by the jury's decision, Émile Zola, an early champion of Manet's art, published a series of articles in the newspaper L'Évenement, that praised Manet's realist style and modern content.  Following the example of Gustave Courbet, in May 1867, Manet personally funded and mounted an exhibition of his own work in a pavilion at the edge of the Éxposition universelle. The exhibition included Le fifre, which was ridiculed in the popular press for its unusual brushwork and inscrutable spatial setting.The painting was acquired by Durand-Ruell in 1872 and again in 1893. Between 1873 and 1893, the painting was owned by Manet's friend, composer and baritone Jean-Baptiste Faure.  It was included in a large exhibition of Manet's work in 1884, a year after his premature death.Le fifre was accepted by the French government in lieu of taxes on the estate of its last private owner, the Count Isaac de Camondo, and entered the national collections in 1911. It was displayed at the Louvre from 1914 until 1947, when it was relocated to the Musée du Jeu de Paume. It was included in the sweeping Manet retrospective held at the Grand Palais in 1983, the 100th anniversary of the artist's death.In 1986, it was moved to its current home in the Musée d'Orsay, the national museum of 19th-century art.  It has since traveled in exposition; for example, in 2017 and 2018 it was on loan to the Louvre Abu Dhabi museum in Abu Dhabi, UAE.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


The Fifer

Prompt: In The Fifer, how is the History discussed?

On a trip to Spain in 1865, Édouard Manet visited the Prado, where the art of Diego Velázquez was a revelation. Upon his return to Paris in 1866, he began work on a new painting, depicting an anonymous regimental fifer of the Spanish army. In this picture, Manet presents the uniformed boy, in a manner that imitates and inverts the formula of Vélazquez's court portraits, against a barely inflected, flattened background of neutral tone, thus frustrating attempts to assess the figure's true size and, by extension, importance.The painting, entitled Le fifre, was rejected by the jury of the Salon of 1866. Outraged by the jury's decision, Émile Zola, an early champion of Manet's art, published a series of articles in the newspaper L'Évenement, that praised Manet's realist style and modern content.  Following the example of Gustave Courbet, in May 1867, Manet personally funded and mounted an exhibition of his own work in a pavilion at the edge of the Éxposition universelle. The exhibition included Le fifre, which was ridiculed in the popular press for its unusual brushwork and inscrutable spatial setting.The painting was acquired by Durand-Ruell in 1872 and again in 1893. Between 1873 and 1893, the painting was owned by Manet's friend, composer and baritone Jean-Baptiste Faure.  It was included in a large exhibition of Manet's work in 1884, a year after his premature death.Le fifre was accepted by the French government in lieu of taxes on the estate of its last private owner, the Count Isaac de Camondo, and entered the national collections in 1911. It was displayed at the Louvre from 1914 until 1947, when it was relocated to the Musée du Jeu de Paume. It was included in the sweeping Manet retrospective held at the Grand Palais in 1983, the 100th anniversary of the artist's death.In 1986, it was moved to its current home in the Musée d'Orsay, the national museum of 19th-century art.  It has since traveled in exposition; for example, in 2017 and 2018 it was on loan to the Louvre Abu Dhabi museum in Abu Dhabi, UAE.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


The Fifer

Prompt: Focus on The Fifer and explain the Analysis.

As with a painting by Velázquez, Manet conceived a shallow depth, where vertical and horizontal planes are barely distinguishable. According to Peter H. Feist, in The Player fife, Manet showed the appeal of "the decorative effect of a large single figure, with emphatic contours and placed before a background surface." Against a monochrome background, the figure is boldly highlighted with a reduced palette of colors mostly laid on in a thick impasto which brings forth the very sharp black of the jacket and shoes, along with the red pants, white strap, spats and so on. Thus, the figure stands "firm, smooth and alive."Moreover, as in Velázquez's work, Manet also portrayed an anonymous character, a teenage musician of the band of the Imperial Guard of Napoleon III, who was sent to Manet by commander Lejosne, "treated like a grandee of Spain." Additional models may have also posed for the figure: the likenesses of both Léon Leenhoff and Victorine Meurent have been seen in the boy's face and figure.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


The Fifer

Prompt: Explain the Analysis of this artwork, The Fifer.

As with a painting by Velázquez, Manet conceived a shallow depth, where vertical and horizontal planes are barely distinguishable. According to Peter H. Feist, in The Player fife, Manet showed the appeal of "the decorative effect of a large single figure, with emphatic contours and placed before a background surface." Against a monochrome background, the figure is boldly highlighted with a reduced palette of colors mostly laid on in a thick impasto which brings forth the very sharp black of the jacket and shoes, along with the red pants, white strap, spats and so on. Thus, the figure stands "firm, smooth and alive."Moreover, as in Velázquez's work, Manet also portrayed an anonymous character, a teenage musician of the band of the Imperial Guard of Napoleon III, who was sent to Manet by commander Lejosne, "treated like a grandee of Spain." Additional models may have also posed for the figure: the likenesses of both Léon Leenhoff and Victorine Meurent have been seen in the boy's face and figure.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


The Fifer

Prompt: How does The Fifer explain its Analysis?

As with a painting by Velázquez, Manet conceived a shallow depth, where vertical and horizontal planes are barely distinguishable. According to Peter H. Feist, in The Player fife, Manet showed the appeal of "the decorative effect of a large single figure, with emphatic contours and placed before a background surface." Against a monochrome background, the figure is boldly highlighted with a reduced palette of colors mostly laid on in a thick impasto which brings forth the very sharp black of the jacket and shoes, along with the red pants, white strap, spats and so on. Thus, the figure stands "firm, smooth and alive."Moreover, as in Velázquez's work, Manet also portrayed an anonymous character, a teenage musician of the band of the Imperial Guard of Napoleon III, who was sent to Manet by commander Lejosne, "treated like a grandee of Spain." Additional models may have also posed for the figure: the likenesses of both Léon Leenhoff and Victorine Meurent have been seen in the boy's face and figure.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


The Fifer

Prompt: In The Fifer, how is the Analysis discussed?

As with a painting by Velázquez, Manet conceived a shallow depth, where vertical and horizontal planes are barely distinguishable. According to Peter H. Feist, in The Player fife, Manet showed the appeal of "the decorative effect of a large single figure, with emphatic contours and placed before a background surface." Against a monochrome background, the figure is boldly highlighted with a reduced palette of colors mostly laid on in a thick impasto which brings forth the very sharp black of the jacket and shoes, along with the red pants, white strap, spats and so on. Thus, the figure stands "firm, smooth and alive."Moreover, as in Velázquez's work, Manet also portrayed an anonymous character, a teenage musician of the band of the Imperial Guard of Napoleon III, who was sent to Manet by commander Lejosne, "treated like a grandee of Spain." Additional models may have also posed for the figure: the likenesses of both Léon Leenhoff and Victorine Meurent have been seen in the boy's face and figure.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


The Fifer

Prompt: Focus on The Fifer and explain the In popular culture.

A fictional tale concerning the painting forms the subject of an episode ("Art for Hogan's Sake") of the American television series Hogan's Heroes, in which the work is stolen from the Louvre by a Nazi general and returned by the Allied POW's working with the French underground.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


The Fifer

Prompt: Explain the In popular culture of this artwork, The Fifer.

A fictional tale concerning the painting forms the subject of an episode ("Art for Hogan's Sake") of the American television series Hogan's Heroes, in which the work is stolen from the Louvre by a Nazi general and returned by the Allied POW's working with the French underground.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


The Fifer

Prompt: How does The Fifer explain its In popular culture?

A fictional tale concerning the painting forms the subject of an episode ("Art for Hogan's Sake") of the American television series Hogan's Heroes, in which the work is stolen from the Louvre by a Nazi general and returned by the Allied POW's working with the French underground.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


The Fifer

Prompt: In The Fifer, how is the In popular culture discussed?

A fictional tale concerning the painting forms the subject of an episode ("Art for Hogan's Sake") of the American television series Hogan's Heroes, in which the work is stolen from the Louvre by a Nazi general and returned by the Allied POW's working with the French underground.

Victorine Meurent
Hogan's Heroes
Category:Portraits by Édouard Manet
impasto
Category:1866 paintings
Category:19th-century portraits
Imperial Guard (Napoleon III)
Louvre Abu Dhabi
Diego Velázquez
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
List of paintings by Édouard Manet
Abu Dhabi
1866
Category:Musical instruments in art
Émile Zola
United Arab Emirates
Taschen
Édouard Manet
UAE
Peter H. Feist
Jean-Baptiste Faure
1866 in art
Imperial Guard
Louvre
oil painting


Prompt: Focus on Berthe Morisot with a Bouquet of Violets and explain the abstract.

Berthe Morisot with a Bouquet of Violets (French: Berthe Morisot au bouquet de violettes) is an 1872 oil painting by Édouard Manet. It depicts fellow painter Berthe Morisot dressed in black mourning dress, with a barely visible bouquet of violets. The painting, sometimes known as Portrait of Berthe Morisot, Berthe Morisot in a black hat or Young woman in a black hat, is in the collection of the Musée d'Orsay in Paris.  Manet also created an etching and two lithographs of the same composition.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Prompt: Explain the abstract of this artwork, Berthe Morisot with a Bouquet of Violets.

Berthe Morisot with a Bouquet of Violets (French: Berthe Morisot au bouquet de violettes) is an 1872 oil painting by Édouard Manet. It depicts fellow painter Berthe Morisot dressed in black mourning dress, with a barely visible bouquet of violets. The painting, sometimes known as Portrait of Berthe Morisot, Berthe Morisot in a black hat or Young woman in a black hat, is in the collection of the Musée d'Orsay in Paris.  Manet also created an etching and two lithographs of the same composition.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Prompt: How does Berthe Morisot with a Bouquet of Violets explain its abstract?

Berthe Morisot with a Bouquet of Violets (French: Berthe Morisot au bouquet de violettes) is an 1872 oil painting by Édouard Manet. It depicts fellow painter Berthe Morisot dressed in black mourning dress, with a barely visible bouquet of violets. The painting, sometimes known as Portrait of Berthe Morisot, Berthe Morisot in a black hat or Young woman in a black hat, is in the collection of the Musée d'Orsay in Paris.  Manet also created an etching and two lithographs of the same composition.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Prompt: In Berthe Morisot with a Bouquet of Violets, how is the abstract discussed?

Berthe Morisot with a Bouquet of Violets (French: Berthe Morisot au bouquet de violettes) is an 1872 oil painting by Édouard Manet. It depicts fellow painter Berthe Morisot dressed in black mourning dress, with a barely visible bouquet of violets. The painting, sometimes known as Portrait of Berthe Morisot, Berthe Morisot in a black hat or Young woman in a black hat, is in the collection of the Musée d'Orsay in Paris.  Manet also created an etching and two lithographs of the same composition.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Prompt: Focus on Berthe Morisot with a Bouquet of Violets and explain the Background.

Manet became acquainted with Berthe Morisot in 1868.  She was the grand-niece of Fragonard, and also a painter; Morisot and Manet influenced each other's work.  He painted her portrait many times, including his earlier work The Balcony. She married Manet's brother Eugène in 1874.Manet had remained in Paris during the Franco-Prussian War in 1870–71, and served in the Garde Nationale to defend the city in the Siege of Paris.  He was unable to paint while he was serving, and left Paris after the city surrendered at the end of January 1871. He returned to painting later in 1871, and returned to Paris after the defeat of the Paris Commune in May 1871.This painting was one of several portraits of a black-clad Morisot by Manet between 1872 and 1874: others show her with a pink shoe, with a fan, and veiled.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Prompt: Explain the Background of this artwork, Berthe Morisot with a Bouquet of Violets.

Manet became acquainted with Berthe Morisot in 1868.  She was the grand-niece of Fragonard, and also a painter; Morisot and Manet influenced each other's work.  He painted her portrait many times, including his earlier work The Balcony. She married Manet's brother Eugène in 1874.Manet had remained in Paris during the Franco-Prussian War in 1870–71, and served in the Garde Nationale to defend the city in the Siege of Paris.  He was unable to paint while he was serving, and left Paris after the city surrendered at the end of January 1871. He returned to painting later in 1871, and returned to Paris after the defeat of the Paris Commune in May 1871.This painting was one of several portraits of a black-clad Morisot by Manet between 1872 and 1874: others show her with a pink shoe, with a fan, and veiled.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Prompt: How does Berthe Morisot with a Bouquet of Violets explain its Background?

Manet became acquainted with Berthe Morisot in 1868.  She was the grand-niece of Fragonard, and also a painter; Morisot and Manet influenced each other's work.  He painted her portrait many times, including his earlier work The Balcony. She married Manet's brother Eugène in 1874.Manet had remained in Paris during the Franco-Prussian War in 1870–71, and served in the Garde Nationale to defend the city in the Siege of Paris.  He was unable to paint while he was serving, and left Paris after the city surrendered at the end of January 1871. He returned to painting later in 1871, and returned to Paris after the defeat of the Paris Commune in May 1871.This painting was one of several portraits of a black-clad Morisot by Manet between 1872 and 1874: others show her with a pink shoe, with a fan, and veiled.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Prompt: In Berthe Morisot with a Bouquet of Violets, how is the Background discussed?

Manet became acquainted with Berthe Morisot in 1868.  She was the grand-niece of Fragonard, and also a painter; Morisot and Manet influenced each other's work.  He painted her portrait many times, including his earlier work The Balcony. She married Manet's brother Eugène in 1874.Manet had remained in Paris during the Franco-Prussian War in 1870–71, and served in the Garde Nationale to defend the city in the Siege of Paris.  He was unable to paint while he was serving, and left Paris after the city surrendered at the end of January 1871. He returned to painting later in 1871, and returned to Paris after the defeat of the Paris Commune in May 1871.This painting was one of several portraits of a black-clad Morisot by Manet between 1872 and 1874: others show her with a pink shoe, with a fan, and veiled.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Prompt: Focus on Berthe Morisot with a Bouquet of Violets and explain the Description.

The half-length portrait is on a canvas measuring 55.5 × 40.5 centimetres (21.9 × 15.9 in) – 71.5 × 57.5 centimetres (28.1 × 22.6 in) with frame – and is signed "Manet 72" in the upper right corner. It is a study in shades of black. Unusually for Manet's portraits, which typically have an even light, Morisot is lit from one side, so that she is brightly illuminated on her right side and the left is in deep shadow. She wears black mourning dress and hat, with her face surrounded by black ribbons and scarves, against a lighter background, and an earring in each ear.  The violet flowers are barely perceptible where the neckline of Morisot's dress dips towards her chest. Manet also painted violets in his Woman with a Parrot of 1866.Manet painted Morisot with black eyes, although her eyes were actually green. The dark costume and eyes may allude to Manet's impression that she looked Spanish. Manet had earlier painted a similar portrait of his own mother in mourning, made in 1863, which shows his mother clad in black, on a dark background.The painting was followed by a similar etching – probably the first copy, with the pose reversed – and two lithographs, all made in 1872 to 1874.  Manet made a similar painting of Morisot in mourning dress in 1874, after the death of her father, Edmé Tiburce Morisot.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Prompt: Explain the Description of this artwork, Berthe Morisot with a Bouquet of Violets.

The half-length portrait is on a canvas measuring 55.5 × 40.5 centimetres (21.9 × 15.9 in) – 71.5 × 57.5 centimetres (28.1 × 22.6 in) with frame – and is signed "Manet 72" in the upper right corner. It is a study in shades of black. Unusually for Manet's portraits, which typically have an even light, Morisot is lit from one side, so that she is brightly illuminated on her right side and the left is in deep shadow. She wears black mourning dress and hat, with her face surrounded by black ribbons and scarves, against a lighter background, and an earring in each ear.  The violet flowers are barely perceptible where the neckline of Morisot's dress dips towards her chest. Manet also painted violets in his Woman with a Parrot of 1866.Manet painted Morisot with black eyes, although her eyes were actually green. The dark costume and eyes may allude to Manet's impression that she looked Spanish. Manet had earlier painted a similar portrait of his own mother in mourning, made in 1863, which shows his mother clad in black, on a dark background.The painting was followed by a similar etching – probably the first copy, with the pose reversed – and two lithographs, all made in 1872 to 1874.  Manet made a similar painting of Morisot in mourning dress in 1874, after the death of her father, Edmé Tiburce Morisot.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Prompt: How does Berthe Morisot with a Bouquet of Violets explain its Description?

The half-length portrait is on a canvas measuring 55.5 × 40.5 centimetres (21.9 × 15.9 in) – 71.5 × 57.5 centimetres (28.1 × 22.6 in) with frame – and is signed "Manet 72" in the upper right corner. It is a study in shades of black. Unusually for Manet's portraits, which typically have an even light, Morisot is lit from one side, so that she is brightly illuminated on her right side and the left is in deep shadow. She wears black mourning dress and hat, with her face surrounded by black ribbons and scarves, against a lighter background, and an earring in each ear.  The violet flowers are barely perceptible where the neckline of Morisot's dress dips towards her chest. Manet also painted violets in his Woman with a Parrot of 1866.Manet painted Morisot with black eyes, although her eyes were actually green. The dark costume and eyes may allude to Manet's impression that she looked Spanish. Manet had earlier painted a similar portrait of his own mother in mourning, made in 1863, which shows his mother clad in black, on a dark background.The painting was followed by a similar etching – probably the first copy, with the pose reversed – and two lithographs, all made in 1872 to 1874.  Manet made a similar painting of Morisot in mourning dress in 1874, after the death of her father, Edmé Tiburce Morisot.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Prompt: In Berthe Morisot with a Bouquet of Violets, how is the Description discussed?

The half-length portrait is on a canvas measuring 55.5 × 40.5 centimetres (21.9 × 15.9 in) – 71.5 × 57.5 centimetres (28.1 × 22.6 in) with frame – and is signed "Manet 72" in the upper right corner. It is a study in shades of black. Unusually for Manet's portraits, which typically have an even light, Morisot is lit from one side, so that she is brightly illuminated on her right side and the left is in deep shadow. She wears black mourning dress and hat, with her face surrounded by black ribbons and scarves, against a lighter background, and an earring in each ear.  The violet flowers are barely perceptible where the neckline of Morisot's dress dips towards her chest. Manet also painted violets in his Woman with a Parrot of 1866.Manet painted Morisot with black eyes, although her eyes were actually green. The dark costume and eyes may allude to Manet's impression that she looked Spanish. Manet had earlier painted a similar portrait of his own mother in mourning, made in 1863, which shows his mother clad in black, on a dark background.The painting was followed by a similar etching – probably the first copy, with the pose reversed – and two lithographs, all made in 1872 to 1874.  Manet made a similar painting of Morisot in mourning dress in 1874, after the death of her father, Edmé Tiburce Morisot.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Prompt: Focus on Berthe Morisot with a Bouquet of Violets and explain the Reception.

The work was quickly considered a masterpiece of Manet's work.  It was praised by Paul Valéry in the catalogue of Manet's retrospective at the Orangerie in 1932 for the centenary of his birth.  Valéry knew the painting well: he was married to Morisot's niece, Jeannie Gobillard, the daughter of Morisot's sister Yves and her husband Theodore Gobillard, and so he also related by marriage to Manet; indeed, his wedding in 1900 was a double celebration at the same time as the marriage of Morisot's daughter Julie Manet to Ernest Rouart.  Valéry compared Manet's painting to Vermeer's Girl with a Pearl Earring: "I do not rank anything in Manet's work higher than a certain portrait of Berthe Morisot dated 1872".Manet sold or gave the painting to collector and art critic Théodore Duret. Morisot herself acquired the painting in 1894, paying 5,100 francs in the sale of Duret's collection. After her death in 1895, it was kept by her daughter Julie until her own death in 1966, and then it was in the collection of her son (Morisot's grandson) Clément Rouart. It was acquired for the Musée d'Orsay in 1998, with funding from the Fonds du Patrimoine, the Meyer Foundation, the China Times Group and a sponsorship programme coordinated by the Japanese The Nikkei newspaper.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Prompt: Explain the Reception of this artwork, Berthe Morisot with a Bouquet of Violets.

The work was quickly considered a masterpiece of Manet's work.  It was praised by Paul Valéry in the catalogue of Manet's retrospective at the Orangerie in 1932 for the centenary of his birth.  Valéry knew the painting well: he was married to Morisot's niece, Jeannie Gobillard, the daughter of Morisot's sister Yves and her husband Theodore Gobillard, and so he also related by marriage to Manet; indeed, his wedding in 1900 was a double celebration at the same time as the marriage of Morisot's daughter Julie Manet to Ernest Rouart.  Valéry compared Manet's painting to Vermeer's Girl with a Pearl Earring: "I do not rank anything in Manet's work higher than a certain portrait of Berthe Morisot dated 1872".Manet sold or gave the painting to collector and art critic Théodore Duret. Morisot herself acquired the painting in 1894, paying 5,100 francs in the sale of Duret's collection. After her death in 1895, it was kept by her daughter Julie until her own death in 1966, and then it was in the collection of her son (Morisot's grandson) Clément Rouart. It was acquired for the Musée d'Orsay in 1998, with funding from the Fonds du Patrimoine, the Meyer Foundation, the China Times Group and a sponsorship programme coordinated by the Japanese The Nikkei newspaper.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Prompt: How does Berthe Morisot with a Bouquet of Violets explain its Reception?

The work was quickly considered a masterpiece of Manet's work.  It was praised by Paul Valéry in the catalogue of Manet's retrospective at the Orangerie in 1932 for the centenary of his birth.  Valéry knew the painting well: he was married to Morisot's niece, Jeannie Gobillard, the daughter of Morisot's sister Yves and her husband Theodore Gobillard, and so he also related by marriage to Manet; indeed, his wedding in 1900 was a double celebration at the same time as the marriage of Morisot's daughter Julie Manet to Ernest Rouart.  Valéry compared Manet's painting to Vermeer's Girl with a Pearl Earring: "I do not rank anything in Manet's work higher than a certain portrait of Berthe Morisot dated 1872".Manet sold or gave the painting to collector and art critic Théodore Duret. Morisot herself acquired the painting in 1894, paying 5,100 francs in the sale of Duret's collection. After her death in 1895, it was kept by her daughter Julie until her own death in 1966, and then it was in the collection of her son (Morisot's grandson) Clément Rouart. It was acquired for the Musée d'Orsay in 1998, with funding from the Fonds du Patrimoine, the Meyer Foundation, the China Times Group and a sponsorship programme coordinated by the Japanese The Nikkei newspaper.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Prompt: In Berthe Morisot with a Bouquet of Violets, how is the Reception discussed?

The work was quickly considered a masterpiece of Manet's work.  It was praised by Paul Valéry in the catalogue of Manet's retrospective at the Orangerie in 1932 for the centenary of his birth.  Valéry knew the painting well: he was married to Morisot's niece, Jeannie Gobillard, the daughter of Morisot's sister Yves and her husband Theodore Gobillard, and so he also related by marriage to Manet; indeed, his wedding in 1900 was a double celebration at the same time as the marriage of Morisot's daughter Julie Manet to Ernest Rouart.  Valéry compared Manet's painting to Vermeer's Girl with a Pearl Earring: "I do not rank anything in Manet's work higher than a certain portrait of Berthe Morisot dated 1872".Manet sold or gave the painting to collector and art critic Théodore Duret. Morisot herself acquired the painting in 1894, paying 5,100 francs in the sale of Duret's collection. After her death in 1895, it was kept by her daughter Julie until her own death in 1966, and then it was in the collection of her son (Morisot's grandson) Clément Rouart. It was acquired for the Musée d'Orsay in 1998, with funding from the Fonds du Patrimoine, the Meyer Foundation, the China Times Group and a sponsorship programme coordinated by the Japanese The Nikkei newspaper.

Julie Manet
Category:Portraits by Édouard Manet
Category:Portraits of women
Théodore Duret
Category:19th-century portraits
Eugène
Siege of Paris (1870–71)
Paris Commune
Girl with a Pearl Earring
Musée de l'Orangerie
Category:Paintings in the Musée d'Orsay
Musée d'Orsay
Eugène Manet
Paris
Nihon Keizai Shimbun
List of paintings by Édouard Manet
Fragonard
Franco-Prussian War
The Balcony (painting)
Morisot
Ernest Rouart
Vermeer
Édouard Manet
''The Nikkei'' newspaper
mourning dress
Oil painting
Viola (plant)
Category:Berthe Morisot
Princeton University Press
Category:1872 paintings
National Guard (France)
Paul Valéry
Jean-Honoré Fragonard
1872 in art
Oil on canvas
The Observer
Siege of Paris
Berthe Morisot
Isabella Stewart Gardner Museum
China Times
Orangerie
violets
The Balcony
Garde Nationale
Johannes Vermeer


Madonna with the Blue Diadem

Prompt: Focus on Madonna with the Blue Diadem and explain the abstract.

The Madonna with the Blue Diadem is a painting by Raphael and his pupil Gianfrancesco Penni, and was most likely painted in Rome around 1510-1512, now at the Louvre. In the Louvre, the painting is named Virgin and Child with the Infant Saint John, also known as Virgin with the Veil or Virgin with the Blue Diadem. Additional names include Virgin with the Linen,  Slumbering Child and Silence of the Holy Virgin.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


Madonna with the Blue Diadem

Prompt: Explain the abstract of this artwork, Madonna with the Blue Diadem.

The Madonna with the Blue Diadem is a painting by Raphael and his pupil Gianfrancesco Penni, and was most likely painted in Rome around 1510-1512, now at the Louvre. In the Louvre, the painting is named Virgin and Child with the Infant Saint John, also known as Virgin with the Veil or Virgin with the Blue Diadem. Additional names include Virgin with the Linen,  Slumbering Child and Silence of the Holy Virgin.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


Madonna with the Blue Diadem

Prompt: How does Madonna with the Blue Diadem explain its abstract?

The Madonna with the Blue Diadem is a painting by Raphael and his pupil Gianfrancesco Penni, and was most likely painted in Rome around 1510-1512, now at the Louvre. In the Louvre, the painting is named Virgin and Child with the Infant Saint John, also known as Virgin with the Veil or Virgin with the Blue Diadem. Additional names include Virgin with the Linen,  Slumbering Child and Silence of the Holy Virgin.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


Madonna with the Blue Diadem

Prompt: In Madonna with the Blue Diadem, how is the abstract discussed?

The Madonna with the Blue Diadem is a painting by Raphael and his pupil Gianfrancesco Penni, and was most likely painted in Rome around 1510-1512, now at the Louvre. In the Louvre, the painting is named Virgin and Child with the Infant Saint John, also known as Virgin with the Veil or Virgin with the Blue Diadem. Additional names include Virgin with the Linen,  Slumbering Child and Silence of the Holy Virgin.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


Madonna with the Blue Diadem

Prompt: Focus on Madonna with the Blue Diadem and explain the History.

Legend has it that at one time the panel, split in two, was used to cover casks in Pescia. Once found, they are said to have been expertly joined.  There is also a different version where the panel was split into three pieces to make a screen, which was made whole again.By the later part of the 16th century, it had been in the Chateauneuf Collection, Paris and descended to his heir, the Marquis de la Vallière.In 1620 the painting was owned by the Marquis de la Vallière, Secretary of State, as part of the La Vallière Collection in Paris. In 1713, Prince Louis Alexandre de Bourbon, Comte de Toulouse, owned the painting and from him it passed in 1728 into the collection of the Prince de Carignan.From at least 1728 to 1743 it was in the possession of Victor Amadeus I, Prince of Carignan.  After he died, the painting fell to his son Louis de Carignan and painter Rigauld mediated the sale in 1742 dispersed to Louis XV in 1743.The last Raphael painting to enter the French Royal Collection, it was acquired  from the Prince of Carignan in 1742 dispersed to Louis XV in 1743.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


Madonna with the Blue Diadem

Prompt: Explain the History of this artwork, Madonna with the Blue Diadem.

Legend has it that at one time the panel, split in two, was used to cover casks in Pescia. Once found, they are said to have been expertly joined.  There is also a different version where the panel was split into three pieces to make a screen, which was made whole again.By the later part of the 16th century, it had been in the Chateauneuf Collection, Paris and descended to his heir, the Marquis de la Vallière.In 1620 the painting was owned by the Marquis de la Vallière, Secretary of State, as part of the La Vallière Collection in Paris. In 1713, Prince Louis Alexandre de Bourbon, Comte de Toulouse, owned the painting and from him it passed in 1728 into the collection of the Prince de Carignan.From at least 1728 to 1743 it was in the possession of Victor Amadeus I, Prince of Carignan.  After he died, the painting fell to his son Louis de Carignan and painter Rigauld mediated the sale in 1742 dispersed to Louis XV in 1743.The last Raphael painting to enter the French Royal Collection, it was acquired  from the Prince of Carignan in 1742 dispersed to Louis XV in 1743.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


Madonna with the Blue Diadem

Prompt: How does Madonna with the Blue Diadem explain its History?

Legend has it that at one time the panel, split in two, was used to cover casks in Pescia. Once found, they are said to have been expertly joined.  There is also a different version where the panel was split into three pieces to make a screen, which was made whole again.By the later part of the 16th century, it had been in the Chateauneuf Collection, Paris and descended to his heir, the Marquis de la Vallière.In 1620 the painting was owned by the Marquis de la Vallière, Secretary of State, as part of the La Vallière Collection in Paris. In 1713, Prince Louis Alexandre de Bourbon, Comte de Toulouse, owned the painting and from him it passed in 1728 into the collection of the Prince de Carignan.From at least 1728 to 1743 it was in the possession of Victor Amadeus I, Prince of Carignan.  After he died, the painting fell to his son Louis de Carignan and painter Rigauld mediated the sale in 1742 dispersed to Louis XV in 1743.The last Raphael painting to enter the French Royal Collection, it was acquired  from the Prince of Carignan in 1742 dispersed to Louis XV in 1743.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


Madonna with the Blue Diadem

Prompt: In Madonna with the Blue Diadem, how is the History discussed?

Legend has it that at one time the panel, split in two, was used to cover casks in Pescia. Once found, they are said to have been expertly joined.  There is also a different version where the panel was split into three pieces to make a screen, which was made whole again.By the later part of the 16th century, it had been in the Chateauneuf Collection, Paris and descended to his heir, the Marquis de la Vallière.In 1620 the painting was owned by the Marquis de la Vallière, Secretary of State, as part of the La Vallière Collection in Paris. In 1713, Prince Louis Alexandre de Bourbon, Comte de Toulouse, owned the painting and from him it passed in 1728 into the collection of the Prince de Carignan.From at least 1728 to 1743 it was in the possession of Victor Amadeus I, Prince of Carignan.  After he died, the painting fell to his son Louis de Carignan and painter Rigauld mediated the sale in 1742 dispersed to Louis XV in 1743.The last Raphael painting to enter the French Royal Collection, it was acquired  from the Prince of Carignan in 1742 dispersed to Louis XV in 1743.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


Madonna with the Blue Diadem

Prompt: Focus on Madonna with the Blue Diadem and explain the Description.

Although there are several artists involved, the composition is almost certainly that of Raphael. Due to the use of bright, acid colors and the porcelain-like finish, it is thought that the finishing of the composition may have been the work of one of his pupils, Giovanfrancesco Penni, and to be dated around 1518.The painting is similar to the Madonna of Loreto (Musée Condé, Chantilly), featuring the symbolic lifting of the veil. The use of veil in Renaissance paintings, from the Meditations on the Life of Christ,  symbolizes the manner in which the Madonna wrapped the Child in the veil from her head at the Nativity and, prophetically, again at the Crucifixion.Here the Virgin lifts the veil over the sleeping Child, who is turned toward the audience, with her other arm around the young John the Baptist, who has a reed across his shoulder.  Both the Virgin and John are in profile.  Attached to a blue diadem, a veil that flows down her head, across her shoulders and clings to her arms. A draped tunic, belted at the waist, flowing overtop her red underdress.While the paintings has some similarity to the Madonna of Loreto, Raphael make a more dramatic statement, such as through the use of ruins of the Sacchetti Villa and vineyard, near the St. Peter's Basilica in Rome.There is also refinement in the features and limbs of the Christ child.  The child is very calm, contrasted to the expression of awe and adoration by the young John.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


Madonna with the Blue Diadem

Prompt: Explain the Description of this artwork, Madonna with the Blue Diadem.

Although there are several artists involved, the composition is almost certainly that of Raphael. Due to the use of bright, acid colors and the porcelain-like finish, it is thought that the finishing of the composition may have been the work of one of his pupils, Giovanfrancesco Penni, and to be dated around 1518.The painting is similar to the Madonna of Loreto (Musée Condé, Chantilly), featuring the symbolic lifting of the veil. The use of veil in Renaissance paintings, from the Meditations on the Life of Christ,  symbolizes the manner in which the Madonna wrapped the Child in the veil from her head at the Nativity and, prophetically, again at the Crucifixion.Here the Virgin lifts the veil over the sleeping Child, who is turned toward the audience, with her other arm around the young John the Baptist, who has a reed across his shoulder.  Both the Virgin and John are in profile.  Attached to a blue diadem, a veil that flows down her head, across her shoulders and clings to her arms. A draped tunic, belted at the waist, flowing overtop her red underdress.While the paintings has some similarity to the Madonna of Loreto, Raphael make a more dramatic statement, such as through the use of ruins of the Sacchetti Villa and vineyard, near the St. Peter's Basilica in Rome.There is also refinement in the features and limbs of the Christ child.  The child is very calm, contrasted to the expression of awe and adoration by the young John.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


Madonna with the Blue Diadem

Prompt: How does Madonna with the Blue Diadem explain its Description?

Although there are several artists involved, the composition is almost certainly that of Raphael. Due to the use of bright, acid colors and the porcelain-like finish, it is thought that the finishing of the composition may have been the work of one of his pupils, Giovanfrancesco Penni, and to be dated around 1518.The painting is similar to the Madonna of Loreto (Musée Condé, Chantilly), featuring the symbolic lifting of the veil. The use of veil in Renaissance paintings, from the Meditations on the Life of Christ,  symbolizes the manner in which the Madonna wrapped the Child in the veil from her head at the Nativity and, prophetically, again at the Crucifixion.Here the Virgin lifts the veil over the sleeping Child, who is turned toward the audience, with her other arm around the young John the Baptist, who has a reed across his shoulder.  Both the Virgin and John are in profile.  Attached to a blue diadem, a veil that flows down her head, across her shoulders and clings to her arms. A draped tunic, belted at the waist, flowing overtop her red underdress.While the paintings has some similarity to the Madonna of Loreto, Raphael make a more dramatic statement, such as through the use of ruins of the Sacchetti Villa and vineyard, near the St. Peter's Basilica in Rome.There is also refinement in the features and limbs of the Christ child.  The child is very calm, contrasted to the expression of awe and adoration by the young John.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


Madonna with the Blue Diadem

Prompt: In Madonna with the Blue Diadem, how is the Description discussed?

Although there are several artists involved, the composition is almost certainly that of Raphael. Due to the use of bright, acid colors and the porcelain-like finish, it is thought that the finishing of the composition may have been the work of one of his pupils, Giovanfrancesco Penni, and to be dated around 1518.The painting is similar to the Madonna of Loreto (Musée Condé, Chantilly), featuring the symbolic lifting of the veil. The use of veil in Renaissance paintings, from the Meditations on the Life of Christ,  symbolizes the manner in which the Madonna wrapped the Child in the veil from her head at the Nativity and, prophetically, again at the Crucifixion.Here the Virgin lifts the veil over the sleeping Child, who is turned toward the audience, with her other arm around the young John the Baptist, who has a reed across his shoulder.  Both the Virgin and John are in profile.  Attached to a blue diadem, a veil that flows down her head, across her shoulders and clings to her arms. A draped tunic, belted at the waist, flowing overtop her red underdress.While the paintings has some similarity to the Madonna of Loreto, Raphael make a more dramatic statement, such as through the use of ruins of the Sacchetti Villa and vineyard, near the St. Peter's Basilica in Rome.There is also refinement in the features and limbs of the Christ child.  The child is very calm, contrasted to the expression of awe and adoration by the young John.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


Saint Jerome in His Study (Dürer)

Prompt: Focus on Saint Jerome in His Study (Dürer) and explain the abstract.

Saint Jerome in His Study (German: Der heilige Hieronymus im Gehäus) is a copper engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend (c. 1260), which contained fanciful hagiographies of saints.St. Jerome in His Study is often considered as part of a group of three Dürer engravings (his Meisterstiche), the other two being the well-known Melencolia I (1514) and  Knight, Death and the Devil (1513). Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life.The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation" (94).  Art historian Erwin Panofsky comments on the perspective:The position of the sight point, quite far off centre, strengthens the impression of a representation determined not by the objective law of the architecture but by the subjective standpoint of the spectator who is just entering – a representation which owes to precisely this perspective arrangement a large part of its peculiarly 'intimate' effect. (Qtd. in Puttfarken, 94)

:it:File:Christ the True Vine icon (Athens, 16th century).jpg

''"I am the Vine, you are the branches"''


Saint Jerome in His Study (Dürer)

Prompt: Explain the abstract of this artwork, Saint Jerome in His Study (Dürer).

Saint Jerome in His Study (German: Der heilige Hieronymus im Gehäus) is a copper engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend (c. 1260), which contained fanciful hagiographies of saints.St. Jerome in His Study is often considered as part of a group of three Dürer engravings (his Meisterstiche), the other two being the well-known Melencolia I (1514) and  Knight, Death and the Devil (1513). Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life.The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation" (94).  Art historian Erwin Panofsky comments on the perspective:The position of the sight point, quite far off centre, strengthens the impression of a representation determined not by the objective law of the architecture but by the subjective standpoint of the spectator who is just entering – a representation which owes to precisely this perspective arrangement a large part of its peculiarly 'intimate' effect. (Qtd. in Puttfarken, 94)

:it:File:Christ the True Vine icon (Athens, 16th century).jpg

''"I am the Vine, you are the branches"''


Saint Jerome in His Study (Dürer)

Prompt: How does Saint Jerome in His Study (Dürer) explain its abstract?

Saint Jerome in His Study (German: Der heilige Hieronymus im Gehäus) is a copper engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend (c. 1260), which contained fanciful hagiographies of saints.St. Jerome in His Study is often considered as part of a group of three Dürer engravings (his Meisterstiche), the other two being the well-known Melencolia I (1514) and  Knight, Death and the Devil (1513). Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life.The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation" (94).  Art historian Erwin Panofsky comments on the perspective:The position of the sight point, quite far off centre, strengthens the impression of a representation determined not by the objective law of the architecture but by the subjective standpoint of the spectator who is just entering – a representation which owes to precisely this perspective arrangement a large part of its peculiarly 'intimate' effect. (Qtd. in Puttfarken, 94)

:it:File:Christ the True Vine icon (Athens, 16th century).jpg

''"I am the Vine, you are the branches"''