Les raboteurs de parquet

Prompt: In Les raboteurs de parquet, how is the Composition discussed?

Caillebotte's originality lays in his attempt to combine the careful drawing, modeling and exact tonal values encouraged by the Académie with vivid colors, bold perspectives, keen sense of natural light and modern subject matter of the Impressionist movement. Painted in 1875, this work illustrates Caillebotte's continued interest in perspective and everyday life. In the scene, the observer stands above three workers on hands and knees, scraping a wooden floor in a bourgeois apartment—now believed to be Caillebotte's own studio at 77, rue de Miromesnil, in the 8th arrondissement of Paris. A window on the back wall admits natural light. The workers are all shown with nude torsos and tilted heads, suggesting a conversation. Caillebotte's interest in the male nude, set in a modern context, has been linked to his presumed homosexuality, however it was part of a larger trend, not necessarily limited to homosexual artists, that was first introduced by Courbet in a painting of two wrestlers. This is one of the first paintings to feature the urban working class. It reintroduces the subject of the male nude in the painting, but in a strikingly updated form. Instead of the heroes of antiquity, here are the heroes of modern life—sinewy and strong—in stooped poses that would appear demeaning if they did not convey a sense of masculine strength and honest labor. There is a motif of curls in the image, from the wood shavings on the floor, to the pattern of ironwork in the window grill to the arched backs and arms of the workers. The repetition in the image, with the three workers engaged in different aspects of the same activity but having similar poses, is similar to works by Caillebotte's contemporary, Edgar Degas.

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: Focus on Les raboteurs de parquet and explain the Exhibition and reception.

Despite the effort Caillebotte put into the painting, it was rejected by France's most prestigious art exhibition, the Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a "vulgar subject matter". He was hurt by this rejection, and instead showed it at the second exhibition of the Impressionists, with whom he had already associated himself, in 1876. He presented it alongside some of his other works, including a second, different version of Raboteurs from 1876, and his earlier work Jeune homme à sa fenêtre (Young Man at His Window) The images of the floor scrapers came to be associated with Degas's paintings of washerwomen, also presented at the same exhibition and similarly scorned as "vulgar".The painting divided opinion in Paris art circles. Among the detractors, Emile Porchoron, a critic of Impressionism, damned Caillebotte with faint praise: "the least bad of the exhibition. One of the missions Impressionism seems to have set for itself is to torture perspective: you see here what results can be obtained." Émile Zola praised the technical execution, but then called it "an anti-artistic painting, painting as neat as glass, bourgeois painting, because of the exactitude of the copying." Louis Énault was not troubled by the depiction ("The subject matter is certainly vulgar, but we can understand how it might tempt a painter") but did find fault with the image's fidelity to the scene: "I only regret that the artist did not choose his types better... The arms of the planers are too thin, and their chests too narrow... may your nude be handsome or don't get involved with it!"The painting received praise from many critics, though. Regarding the Salon rejection, poet and critic Émile Blémont called the decision "[a] very bad mark for the official jurors". Marius Chaumelin compared Caillebotte favorably to his contemporaries, writing that the work showed that he was "a realist just as raw, but much more witty, than Courbet, just as violent, but altogether more precise, than Manet." Philippe Burty made comparisons to an even earlier generation of artists: "His pictures are original in their composition, but, more than that, so energetic as to drawing that they resemble the early Florentines."

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: Explain the Exhibition and reception of this artwork, Les raboteurs de parquet.

Despite the effort Caillebotte put into the painting, it was rejected by France's most prestigious art exhibition, the Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a "vulgar subject matter". He was hurt by this rejection, and instead showed it at the second exhibition of the Impressionists, with whom he had already associated himself, in 1876. He presented it alongside some of his other works, including a second, different version of Raboteurs from 1876, and his earlier work Jeune homme à sa fenêtre (Young Man at His Window) The images of the floor scrapers came to be associated with Degas's paintings of washerwomen, also presented at the same exhibition and similarly scorned as "vulgar".The painting divided opinion in Paris art circles. Among the detractors, Emile Porchoron, a critic of Impressionism, damned Caillebotte with faint praise: "the least bad of the exhibition. One of the missions Impressionism seems to have set for itself is to torture perspective: you see here what results can be obtained." Émile Zola praised the technical execution, but then called it "an anti-artistic painting, painting as neat as glass, bourgeois painting, because of the exactitude of the copying." Louis Énault was not troubled by the depiction ("The subject matter is certainly vulgar, but we can understand how it might tempt a painter") but did find fault with the image's fidelity to the scene: "I only regret that the artist did not choose his types better... The arms of the planers are too thin, and their chests too narrow... may your nude be handsome or don't get involved with it!"The painting received praise from many critics, though. Regarding the Salon rejection, poet and critic Émile Blémont called the decision "[a] very bad mark for the official jurors". Marius Chaumelin compared Caillebotte favorably to his contemporaries, writing that the work showed that he was "a realist just as raw, but much more witty, than Courbet, just as violent, but altogether more precise, than Manet." Philippe Burty made comparisons to an even earlier generation of artists: "His pictures are original in their composition, but, more than that, so energetic as to drawing that they resemble the early Florentines."

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: How does Les raboteurs de parquet explain its Exhibition and reception?

Despite the effort Caillebotte put into the painting, it was rejected by France's most prestigious art exhibition, the Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a "vulgar subject matter". He was hurt by this rejection, and instead showed it at the second exhibition of the Impressionists, with whom he had already associated himself, in 1876. He presented it alongside some of his other works, including a second, different version of Raboteurs from 1876, and his earlier work Jeune homme à sa fenêtre (Young Man at His Window) The images of the floor scrapers came to be associated with Degas's paintings of washerwomen, also presented at the same exhibition and similarly scorned as "vulgar".The painting divided opinion in Paris art circles. Among the detractors, Emile Porchoron, a critic of Impressionism, damned Caillebotte with faint praise: "the least bad of the exhibition. One of the missions Impressionism seems to have set for itself is to torture perspective: you see here what results can be obtained." Émile Zola praised the technical execution, but then called it "an anti-artistic painting, painting as neat as glass, bourgeois painting, because of the exactitude of the copying." Louis Énault was not troubled by the depiction ("The subject matter is certainly vulgar, but we can understand how it might tempt a painter") but did find fault with the image's fidelity to the scene: "I only regret that the artist did not choose his types better... The arms of the planers are too thin, and their chests too narrow... may your nude be handsome or don't get involved with it!"The painting received praise from many critics, though. Regarding the Salon rejection, poet and critic Émile Blémont called the decision "[a] very bad mark for the official jurors". Marius Chaumelin compared Caillebotte favorably to his contemporaries, writing that the work showed that he was "a realist just as raw, but much more witty, than Courbet, just as violent, but altogether more precise, than Manet." Philippe Burty made comparisons to an even earlier generation of artists: "His pictures are original in their composition, but, more than that, so energetic as to drawing that they resemble the early Florentines."

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: In Les raboteurs de parquet, how is the Exhibition and reception discussed?

Despite the effort Caillebotte put into the painting, it was rejected by France's most prestigious art exhibition, the Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a "vulgar subject matter". He was hurt by this rejection, and instead showed it at the second exhibition of the Impressionists, with whom he had already associated himself, in 1876. He presented it alongside some of his other works, including a second, different version of Raboteurs from 1876, and his earlier work Jeune homme à sa fenêtre (Young Man at His Window) The images of the floor scrapers came to be associated with Degas's paintings of washerwomen, also presented at the same exhibition and similarly scorned as "vulgar".The painting divided opinion in Paris art circles. Among the detractors, Emile Porchoron, a critic of Impressionism, damned Caillebotte with faint praise: "the least bad of the exhibition. One of the missions Impressionism seems to have set for itself is to torture perspective: you see here what results can be obtained." Émile Zola praised the technical execution, but then called it "an anti-artistic painting, painting as neat as glass, bourgeois painting, because of the exactitude of the copying." Louis Énault was not troubled by the depiction ("The subject matter is certainly vulgar, but we can understand how it might tempt a painter") but did find fault with the image's fidelity to the scene: "I only regret that the artist did not choose his types better... The arms of the planers are too thin, and their chests too narrow... may your nude be handsome or don't get involved with it!"The painting received praise from many critics, though. Regarding the Salon rejection, poet and critic Émile Blémont called the decision "[a] very bad mark for the official jurors". Marius Chaumelin compared Caillebotte favorably to his contemporaries, writing that the work showed that he was "a realist just as raw, but much more witty, than Courbet, just as violent, but altogether more precise, than Manet." Philippe Burty made comparisons to an even earlier generation of artists: "His pictures are original in their composition, but, more than that, so energetic as to drawing that they resemble the early Florentines."

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: Focus on Les raboteurs de parquet and explain the Cultural depictions.

Les Raboteurs, choreography by Angelin Preljocaj, music by Thierry Lancino, film by Cyril Collard (co-production with Musée d'Orsay, La Sept, Opus 10-19; 1988).

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: Explain the Cultural depictions of this artwork, Les raboteurs de parquet.

Les Raboteurs, choreography by Angelin Preljocaj, music by Thierry Lancino, film by Cyril Collard (co-production with Musée d'Orsay, La Sept, Opus 10-19; 1988).

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: How does Les raboteurs de parquet explain its Cultural depictions?

Les Raboteurs, choreography by Angelin Preljocaj, music by Thierry Lancino, film by Cyril Collard (co-production with Musée d'Orsay, La Sept, Opus 10-19; 1988).

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: In Les raboteurs de parquet, how is the Cultural depictions discussed?

Les Raboteurs, choreography by Angelin Preljocaj, music by Thierry Lancino, film by Cyril Collard (co-production with Musée d'Orsay, La Sept, Opus 10-19; 1988).

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Neptune and Triton

Prompt: Focus on Neptune and Triton and explain the abstract.

Neptune and Triton is an early sculpture by the Italian artist Gian Lorenzo Bernini. It is housed in the Victoria and Albert Museum of London and was executed c. 1622–1623. Carved from marble, it stands 182.2 cm (71.7 in) in height.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Explain the abstract of this artwork, Neptune and Triton.

Neptune and Triton is an early sculpture by the Italian artist Gian Lorenzo Bernini. It is housed in the Victoria and Albert Museum of London and was executed c. 1622–1623. Carved from marble, it stands 182.2 cm (71.7 in) in height.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: How does Neptune and Triton explain its abstract?

Neptune and Triton is an early sculpture by the Italian artist Gian Lorenzo Bernini. It is housed in the Victoria and Albert Museum of London and was executed c. 1622–1623. Carved from marble, it stands 182.2 cm (71.7 in) in height.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In Neptune and Triton, how is the abstract discussed?

Neptune and Triton is an early sculpture by the Italian artist Gian Lorenzo Bernini. It is housed in the Victoria and Albert Museum of London and was executed c. 1622–1623. Carved from marble, it stands 182.2 cm (71.7 in) in height.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Focus on Neptune and Triton and explain the History.

The marble sculpture group was originally commissioned by Cardinal Alessandro Damascenti-Peretti Montalto in 1620, and executed March 1622 to February 1623, serving as a fountain to decorate the pond in the garden of his Villa Peretti Montalto on the Viminal Hill in Rome. The group was placed in the pre-existing oval pool (called the Peschiera or Peschierone), designed by Domenico Fontana in 1579–81.It was purchased by the Englishman Thomas Jenkins in 1786, from whom it was purchased later that year by the painter Joshua Reynolds. The work had been called "Neptune and Glaucus" following Filippo Baldinucci's biography of the artist, but appears as "Nettvno, e Tritone" in Domenico de' Rossi's engraving (1704), and also later corrected to "Neptune and Triton" following Reynolds' notes.After Reynolds's death in 1792 it was sold to Charles Anderson-Pelham, 1st Baron Yarborough, who kept it in the garden of his home in Chelsea, London, Walpole House. His descendants moved it in 1906 to their country house, Brocklesby Hall, Lincolnshire. It was bought from the family by the Victoria and Albert Museum in 1950, although it had appeared at an exhibition at the Royal Academy in London in 1938.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Explain the History of this artwork, Neptune and Triton.

The marble sculpture group was originally commissioned by Cardinal Alessandro Damascenti-Peretti Montalto in 1620, and executed March 1622 to February 1623, serving as a fountain to decorate the pond in the garden of his Villa Peretti Montalto on the Viminal Hill in Rome. The group was placed in the pre-existing oval pool (called the Peschiera or Peschierone), designed by Domenico Fontana in 1579–81.It was purchased by the Englishman Thomas Jenkins in 1786, from whom it was purchased later that year by the painter Joshua Reynolds. The work had been called "Neptune and Glaucus" following Filippo Baldinucci's biography of the artist, but appears as "Nettvno, e Tritone" in Domenico de' Rossi's engraving (1704), and also later corrected to "Neptune and Triton" following Reynolds' notes.After Reynolds's death in 1792 it was sold to Charles Anderson-Pelham, 1st Baron Yarborough, who kept it in the garden of his home in Chelsea, London, Walpole House. His descendants moved it in 1906 to their country house, Brocklesby Hall, Lincolnshire. It was bought from the family by the Victoria and Albert Museum in 1950, although it had appeared at an exhibition at the Royal Academy in London in 1938.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: How does Neptune and Triton explain its History?

The marble sculpture group was originally commissioned by Cardinal Alessandro Damascenti-Peretti Montalto in 1620, and executed March 1622 to February 1623, serving as a fountain to decorate the pond in the garden of his Villa Peretti Montalto on the Viminal Hill in Rome. The group was placed in the pre-existing oval pool (called the Peschiera or Peschierone), designed by Domenico Fontana in 1579–81.It was purchased by the Englishman Thomas Jenkins in 1786, from whom it was purchased later that year by the painter Joshua Reynolds. The work had been called "Neptune and Glaucus" following Filippo Baldinucci's biography of the artist, but appears as "Nettvno, e Tritone" in Domenico de' Rossi's engraving (1704), and also later corrected to "Neptune and Triton" following Reynolds' notes.After Reynolds's death in 1792 it was sold to Charles Anderson-Pelham, 1st Baron Yarborough, who kept it in the garden of his home in Chelsea, London, Walpole House. His descendants moved it in 1906 to their country house, Brocklesby Hall, Lincolnshire. It was bought from the family by the Victoria and Albert Museum in 1950, although it had appeared at an exhibition at the Royal Academy in London in 1938.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In Neptune and Triton, how is the History discussed?

The marble sculpture group was originally commissioned by Cardinal Alessandro Damascenti-Peretti Montalto in 1620, and executed March 1622 to February 1623, serving as a fountain to decorate the pond in the garden of his Villa Peretti Montalto on the Viminal Hill in Rome. The group was placed in the pre-existing oval pool (called the Peschiera or Peschierone), designed by Domenico Fontana in 1579–81.It was purchased by the Englishman Thomas Jenkins in 1786, from whom it was purchased later that year by the painter Joshua Reynolds. The work had been called "Neptune and Glaucus" following Filippo Baldinucci's biography of the artist, but appears as "Nettvno, e Tritone" in Domenico de' Rossi's engraving (1704), and also later corrected to "Neptune and Triton" following Reynolds' notes.After Reynolds's death in 1792 it was sold to Charles Anderson-Pelham, 1st Baron Yarborough, who kept it in the garden of his home in Chelsea, London, Walpole House. His descendants moved it in 1906 to their country house, Brocklesby Hall, Lincolnshire. It was bought from the family by the Victoria and Albert Museum in 1950, although it had appeared at an exhibition at the Royal Academy in London in 1938.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Focus on Neptune and Triton and explain the Literary reference.

The scene is thought to be making loose allusions to Neptune and Triton aiding Trojan ships as described, by Virgil, or Ovid or both, together with additional material.In Ovid's Metamorphoses, Neptune bids Triton to blow his shell to calm the waves, In Virgil's Aeneid, Neptune calms the waves and afterwards, the nereid Cymothoe and Triton dislodge Aeneas's ships, helped in the effort by Neptune using the trident. But neither passages precisely match and the artist must have patched together a version using other sources.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Explain the Literary reference of this artwork, Neptune and Triton.

The scene is thought to be making loose allusions to Neptune and Triton aiding Trojan ships as described, by Virgil, or Ovid or both, together with additional material.In Ovid's Metamorphoses, Neptune bids Triton to blow his shell to calm the waves, In Virgil's Aeneid, Neptune calms the waves and afterwards, the nereid Cymothoe and Triton dislodge Aeneas's ships, helped in the effort by Neptune using the trident. But neither passages precisely match and the artist must have patched together a version using other sources.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: How does Neptune and Triton explain its Literary reference?

The scene is thought to be making loose allusions to Neptune and Triton aiding Trojan ships as described, by Virgil, or Ovid or both, together with additional material.In Ovid's Metamorphoses, Neptune bids Triton to blow his shell to calm the waves, In Virgil's Aeneid, Neptune calms the waves and afterwards, the nereid Cymothoe and Triton dislodge Aeneas's ships, helped in the effort by Neptune using the trident. But neither passages precisely match and the artist must have patched together a version using other sources.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In Neptune and Triton, how is the Literary reference discussed?

The scene is thought to be making loose allusions to Neptune and Triton aiding Trojan ships as described, by Virgil, or Ovid or both, together with additional material.In Ovid's Metamorphoses, Neptune bids Triton to blow his shell to calm the waves, In Virgil's Aeneid, Neptune calms the waves and afterwards, the nereid Cymothoe and Triton dislodge Aeneas's ships, helped in the effort by Neptune using the trident. But neither passages precisely match and the artist must have patched together a version using other sources.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Focus on Neptune and Triton and explain the Iconography.

The composition of Bernini's Neptune and Triton consists of Neptune standing astride over Triton; Triton lies in sort of a "crouching" position; the two figures mounted on a large half-shell, which serves as socle.Neptune aims his trident seawards, while Triton is blowing his conch. The conch was designed to spurt out gushing water, in order that the sculpture could serve as a fountain.The posture of Neptune's stance, the filling-in of the reverse-V-shaped negative space by another figure (of Triton), were "radical" departures from for Bernini, as it was his "first work in which the silhouette (i.e. block-shape) is broken",  and his achievement of "full Baroque freedom", in the words of Rudolf Wittkower. However, Wittkower also qualified that Bernini was yet to attain the dynamism ("the great sweeping movement which animates both David and Pluto [and Daphne] ") in his subsequent works.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Explain the Iconography of this artwork, Neptune and Triton.

The composition of Bernini's Neptune and Triton consists of Neptune standing astride over Triton; Triton lies in sort of a "crouching" position; the two figures mounted on a large half-shell, which serves as socle.Neptune aims his trident seawards, while Triton is blowing his conch. The conch was designed to spurt out gushing water, in order that the sculpture could serve as a fountain.The posture of Neptune's stance, the filling-in of the reverse-V-shaped negative space by another figure (of Triton), were "radical" departures from for Bernini, as it was his "first work in which the silhouette (i.e. block-shape) is broken",  and his achievement of "full Baroque freedom", in the words of Rudolf Wittkower. However, Wittkower also qualified that Bernini was yet to attain the dynamism ("the great sweeping movement which animates both David and Pluto [and Daphne] ") in his subsequent works.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: How does Neptune and Triton explain its Iconography?

The composition of Bernini's Neptune and Triton consists of Neptune standing astride over Triton; Triton lies in sort of a "crouching" position; the two figures mounted on a large half-shell, which serves as socle.Neptune aims his trident seawards, while Triton is blowing his conch. The conch was designed to spurt out gushing water, in order that the sculpture could serve as a fountain.The posture of Neptune's stance, the filling-in of the reverse-V-shaped negative space by another figure (of Triton), were "radical" departures from for Bernini, as it was his "first work in which the silhouette (i.e. block-shape) is broken",  and his achievement of "full Baroque freedom", in the words of Rudolf Wittkower. However, Wittkower also qualified that Bernini was yet to attain the dynamism ("the great sweeping movement which animates both David and Pluto [and Daphne] ") in his subsequent works.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In Neptune and Triton, how is the Iconography discussed?

The composition of Bernini's Neptune and Triton consists of Neptune standing astride over Triton; Triton lies in sort of a "crouching" position; the two figures mounted on a large half-shell, which serves as socle.Neptune aims his trident seawards, while Triton is blowing his conch. The conch was designed to spurt out gushing water, in order that the sculpture could serve as a fountain.The posture of Neptune's stance, the filling-in of the reverse-V-shaped negative space by another figure (of Triton), were "radical" departures from for Bernini, as it was his "first work in which the silhouette (i.e. block-shape) is broken",  and his achievement of "full Baroque freedom", in the words of Rudolf Wittkower. However, Wittkower also qualified that Bernini was yet to attain the dynamism ("the great sweeping movement which animates both David and Pluto [and Daphne] ") in his subsequent works.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In the context of Neptune and Triton, explain the Neptune and the Iconography.

Neptune is represented as a "mature bearded", muscular figure of male authority, twisting his torso as he is about to thrust his trident in downward motion towards water. Neptune sports a cloak, but is otherwise naked. His "touseled hair and beard", suggests the storminess in this scene.Wittkower who subscribed to the view this was a reenactment of Virgil, was satisfied that this gesture was Neptune, with an "angry look towards the water", calming the waves with his trident. John Pope-Hennessy pointed out the defect that Bernini did not include the nereid if he was reenacting Virgil's passage, and suggested a quote from Ovid as basis; it was then counter-argued that this Ovid passage too was defective in failing to mention the trident explicitly. Collier pointed out it was peculiar that Neptune should wear a wrathful expression calming the sea, and suggested a different passage from Ovid where Neptune was in wrath, but this too was flawed as it did not mention Trident.Collier also remarked that if Virgil was the source, Neptune might not have been waving the trident at the sea, but rather using the instrument to dislodge the ships from the rocks, as stated in the poem.  But since Bernini's work failed to hint at any presence of ships, this proposition seemed untenable to him.As a side-note, it has also been noticed that ends of Neptune's drapery are made to look like a dolphin's head. It has been suggested this pays homage to the classical writing by Ovid, at a different passage that mentions the Neptune and dolphins (but not Triton), as well as to the general Ovidian theme of transformations in the Metamorphosis and other works. Barrow on the other hand perceived light-heartedness in the artistic touch here, which was "evocative of the spirit of Hellenistic Rococo".

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Explain the Neptune about the Iconography of this artwork, Neptune and Triton.

Neptune is represented as a "mature bearded", muscular figure of male authority, twisting his torso as he is about to thrust his trident in downward motion towards water. Neptune sports a cloak, but is otherwise naked. His "touseled hair and beard", suggests the storminess in this scene.Wittkower who subscribed to the view this was a reenactment of Virgil, was satisfied that this gesture was Neptune, with an "angry look towards the water", calming the waves with his trident. John Pope-Hennessy pointed out the defect that Bernini did not include the nereid if he was reenacting Virgil's passage, and suggested a quote from Ovid as basis; it was then counter-argued that this Ovid passage too was defective in failing to mention the trident explicitly. Collier pointed out it was peculiar that Neptune should wear a wrathful expression calming the sea, and suggested a different passage from Ovid where Neptune was in wrath, but this too was flawed as it did not mention Trident.Collier also remarked that if Virgil was the source, Neptune might not have been waving the trident at the sea, but rather using the instrument to dislodge the ships from the rocks, as stated in the poem.  But since Bernini's work failed to hint at any presence of ships, this proposition seemed untenable to him.As a side-note, it has also been noticed that ends of Neptune's drapery are made to look like a dolphin's head. It has been suggested this pays homage to the classical writing by Ovid, at a different passage that mentions the Neptune and dolphins (but not Triton), as well as to the general Ovidian theme of transformations in the Metamorphosis and other works. Barrow on the other hand perceived light-heartedness in the artistic touch here, which was "evocative of the spirit of Hellenistic Rococo".

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In Neptune and Triton, how is the Neptune of the Iconography explained?

Neptune is represented as a "mature bearded", muscular figure of male authority, twisting his torso as he is about to thrust his trident in downward motion towards water. Neptune sports a cloak, but is otherwise naked. His "touseled hair and beard", suggests the storminess in this scene.Wittkower who subscribed to the view this was a reenactment of Virgil, was satisfied that this gesture was Neptune, with an "angry look towards the water", calming the waves with his trident. John Pope-Hennessy pointed out the defect that Bernini did not include the nereid if he was reenacting Virgil's passage, and suggested a quote from Ovid as basis; it was then counter-argued that this Ovid passage too was defective in failing to mention the trident explicitly. Collier pointed out it was peculiar that Neptune should wear a wrathful expression calming the sea, and suggested a different passage from Ovid where Neptune was in wrath, but this too was flawed as it did not mention Trident.Collier also remarked that if Virgil was the source, Neptune might not have been waving the trident at the sea, but rather using the instrument to dislodge the ships from the rocks, as stated in the poem.  But since Bernini's work failed to hint at any presence of ships, this proposition seemed untenable to him.As a side-note, it has also been noticed that ends of Neptune's drapery are made to look like a dolphin's head. It has been suggested this pays homage to the classical writing by Ovid, at a different passage that mentions the Neptune and dolphins (but not Triton), as well as to the general Ovidian theme of transformations in the Metamorphosis and other works. Barrow on the other hand perceived light-heartedness in the artistic touch here, which was "evocative of the spirit of Hellenistic Rococo".

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Describe the characteristics of the Neptune in Neptune and Triton's Iconography.

Neptune is represented as a "mature bearded", muscular figure of male authority, twisting his torso as he is about to thrust his trident in downward motion towards water. Neptune sports a cloak, but is otherwise naked. His "touseled hair and beard", suggests the storminess in this scene.Wittkower who subscribed to the view this was a reenactment of Virgil, was satisfied that this gesture was Neptune, with an "angry look towards the water", calming the waves with his trident. John Pope-Hennessy pointed out the defect that Bernini did not include the nereid if he was reenacting Virgil's passage, and suggested a quote from Ovid as basis; it was then counter-argued that this Ovid passage too was defective in failing to mention the trident explicitly. Collier pointed out it was peculiar that Neptune should wear a wrathful expression calming the sea, and suggested a different passage from Ovid where Neptune was in wrath, but this too was flawed as it did not mention Trident.Collier also remarked that if Virgil was the source, Neptune might not have been waving the trident at the sea, but rather using the instrument to dislodge the ships from the rocks, as stated in the poem.  But since Bernini's work failed to hint at any presence of ships, this proposition seemed untenable to him.As a side-note, it has also been noticed that ends of Neptune's drapery are made to look like a dolphin's head. It has been suggested this pays homage to the classical writing by Ovid, at a different passage that mentions the Neptune and dolphins (but not Triton), as well as to the general Ovidian theme of transformations in the Metamorphosis and other works. Barrow on the other hand perceived light-heartedness in the artistic touch here, which was "evocative of the spirit of Hellenistic Rococo".

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In the context of Neptune and Triton, explain the Triton and the Iconography.

Triton, Neptune's son, is positioned below Neptune's legs, thrusting himself forward to blow the conch shell.  He is noticeably younger, maybe a teenage boy, though also with defined musculature. He blows his shell as a horn to announce that the king of the earth and oceans is approaching. Triton grasps Neptune's leg and ducks his left shoulder between the thighs of Neptune.Bernini's Triton is double-tailed, simulating the two-legged human, both in this sculpture group and in his later work, the Triton Fountain in Rome.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Explain the Triton about the Iconography of this artwork, Neptune and Triton.

Triton, Neptune's son, is positioned below Neptune's legs, thrusting himself forward to blow the conch shell.  He is noticeably younger, maybe a teenage boy, though also with defined musculature. He blows his shell as a horn to announce that the king of the earth and oceans is approaching. Triton grasps Neptune's leg and ducks his left shoulder between the thighs of Neptune.Bernini's Triton is double-tailed, simulating the two-legged human, both in this sculpture group and in his later work, the Triton Fountain in Rome.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In Neptune and Triton, how is the Triton of the Iconography explained?

Triton, Neptune's son, is positioned below Neptune's legs, thrusting himself forward to blow the conch shell.  He is noticeably younger, maybe a teenage boy, though also with defined musculature. He blows his shell as a horn to announce that the king of the earth and oceans is approaching. Triton grasps Neptune's leg and ducks his left shoulder between the thighs of Neptune.Bernini's Triton is double-tailed, simulating the two-legged human, both in this sculpture group and in his later work, the Triton Fountain in Rome.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Describe the characteristics of the Triton in Neptune and Triton's Iconography.

Triton, Neptune's son, is positioned below Neptune's legs, thrusting himself forward to blow the conch shell.  He is noticeably younger, maybe a teenage boy, though also with defined musculature. He blows his shell as a horn to announce that the king of the earth and oceans is approaching. Triton grasps Neptune's leg and ducks his left shoulder between the thighs of Neptune.Bernini's Triton is double-tailed, simulating the two-legged human, both in this sculpture group and in his later work, the Triton Fountain in Rome.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Focus on Neptune and Triton and explain the Naturalism.

The naturalism of the figures suggests the artist's intention to elicit an immediate emotional response to the viewer. Neptune's furrowed brow gives a sense of his fierce strength. His stance is set in stone, solidifying his divine power. In contrast, Triton looks somewhat submissive while he is grabbing Neptune's thigh. His face looks to be full of anxiety as if he knows that he should obey whatever Neptune commands him to do. His timid nature and Neptune's dominate presence display the reality of human emotion and brings back the point of Bernini's plan to convey myths coming to life.Bernini gave the audience the chance to "see" these gods in person; in movement. This was Bernini's first sculpture to " …work where the silhouette is broken, where the climax of a transitory action is given and where the action extends beyond the physical limits". The point of the sculpture is to bring the viewer to face a myth or story to be true and real by its dramatic tension in the body positions and subtle hints at natural life. He was making the myths, rumours and stories an opportunity to be true and demand its viewer to believe in its truth.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Explain the Naturalism of this artwork, Neptune and Triton.

The naturalism of the figures suggests the artist's intention to elicit an immediate emotional response to the viewer. Neptune's furrowed brow gives a sense of his fierce strength. His stance is set in stone, solidifying his divine power. In contrast, Triton looks somewhat submissive while he is grabbing Neptune's thigh. His face looks to be full of anxiety as if he knows that he should obey whatever Neptune commands him to do. His timid nature and Neptune's dominate presence display the reality of human emotion and brings back the point of Bernini's plan to convey myths coming to life.Bernini gave the audience the chance to "see" these gods in person; in movement. This was Bernini's first sculpture to " …work where the silhouette is broken, where the climax of a transitory action is given and where the action extends beyond the physical limits". The point of the sculpture is to bring the viewer to face a myth or story to be true and real by its dramatic tension in the body positions and subtle hints at natural life. He was making the myths, rumours and stories an opportunity to be true and demand its viewer to believe in its truth.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: How does Neptune and Triton explain its Naturalism?

The naturalism of the figures suggests the artist's intention to elicit an immediate emotional response to the viewer. Neptune's furrowed brow gives a sense of his fierce strength. His stance is set in stone, solidifying his divine power. In contrast, Triton looks somewhat submissive while he is grabbing Neptune's thigh. His face looks to be full of anxiety as if he knows that he should obey whatever Neptune commands him to do. His timid nature and Neptune's dominate presence display the reality of human emotion and brings back the point of Bernini's plan to convey myths coming to life.Bernini gave the audience the chance to "see" these gods in person; in movement. This was Bernini's first sculpture to " …work where the silhouette is broken, where the climax of a transitory action is given and where the action extends beyond the physical limits". The point of the sculpture is to bring the viewer to face a myth or story to be true and real by its dramatic tension in the body positions and subtle hints at natural life. He was making the myths, rumours and stories an opportunity to be true and demand its viewer to believe in its truth.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In Neptune and Triton, how is the Naturalism discussed?

The naturalism of the figures suggests the artist's intention to elicit an immediate emotional response to the viewer. Neptune's furrowed brow gives a sense of his fierce strength. His stance is set in stone, solidifying his divine power. In contrast, Triton looks somewhat submissive while he is grabbing Neptune's thigh. His face looks to be full of anxiety as if he knows that he should obey whatever Neptune commands him to do. His timid nature and Neptune's dominate presence display the reality of human emotion and brings back the point of Bernini's plan to convey myths coming to life.Bernini gave the audience the chance to "see" these gods in person; in movement. This was Bernini's first sculpture to " …work where the silhouette is broken, where the climax of a transitory action is given and where the action extends beyond the physical limits". The point of the sculpture is to bring the viewer to face a myth or story to be true and real by its dramatic tension in the body positions and subtle hints at natural life. He was making the myths, rumours and stories an opportunity to be true and demand its viewer to believe in its truth.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Prompt: Focus on Agostina Segatori Sitting in the Café du Tambourin and explain the abstract.

Agostina Segatori Sitting in the Café du Tambourin was painted by Vincent van Gogh in 1887.  Agostina Segatori owned the Café du Tambourin that Van Gogh knew intimately.  It was a gathering spot for Parisian artists, a place where their work was exhibited. Van Gogh, unable to pay in cash for his meals, exchanged paintings for his fare.  The paintings then adorned the restaurant.  He held a special exhibit of his Japanese prints in the café as well.  His connection with Agostina and the cafe came to a sad end when she went bankrupt and van Gogh's paintings were confiscated by creditors.  This painting, however, demonstrates an artistic discovery that culminated in his unique, creative style not quite on the brink of being understood and revered.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: Explain the abstract of this artwork, Agostina Segatori Sitting in the Café du Tambourin.

Agostina Segatori Sitting in the Café du Tambourin was painted by Vincent van Gogh in 1887.  Agostina Segatori owned the Café du Tambourin that Van Gogh knew intimately.  It was a gathering spot for Parisian artists, a place where their work was exhibited. Van Gogh, unable to pay in cash for his meals, exchanged paintings for his fare.  The paintings then adorned the restaurant.  He held a special exhibit of his Japanese prints in the café as well.  His connection with Agostina and the cafe came to a sad end when she went bankrupt and van Gogh's paintings were confiscated by creditors.  This painting, however, demonstrates an artistic discovery that culminated in his unique, creative style not quite on the brink of being understood and revered.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: How does Agostina Segatori Sitting in the Café du Tambourin explain its abstract?

Agostina Segatori Sitting in the Café du Tambourin was painted by Vincent van Gogh in 1887.  Agostina Segatori owned the Café du Tambourin that Van Gogh knew intimately.  It was a gathering spot for Parisian artists, a place where their work was exhibited. Van Gogh, unable to pay in cash for his meals, exchanged paintings for his fare.  The paintings then adorned the restaurant.  He held a special exhibit of his Japanese prints in the café as well.  His connection with Agostina and the cafe came to a sad end when she went bankrupt and van Gogh's paintings were confiscated by creditors.  This painting, however, demonstrates an artistic discovery that culminated in his unique, creative style not quite on the brink of being understood and revered.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: In Agostina Segatori Sitting in the Café du Tambourin, how is the abstract discussed?

Agostina Segatori Sitting in the Café du Tambourin was painted by Vincent van Gogh in 1887.  Agostina Segatori owned the Café du Tambourin that Van Gogh knew intimately.  It was a gathering spot for Parisian artists, a place where their work was exhibited. Van Gogh, unable to pay in cash for his meals, exchanged paintings for his fare.  The paintings then adorned the restaurant.  He held a special exhibit of his Japanese prints in the café as well.  His connection with Agostina and the cafe came to a sad end when she went bankrupt and van Gogh's paintings were confiscated by creditors.  This painting, however, demonstrates an artistic discovery that culminated in his unique, creative style not quite on the brink of being understood and revered.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: Focus on Agostina Segatori Sitting in the Café du Tambourin and explain the Van Gogh's influence in Paris.

In 1886 van Gogh left the Netherlands, never to return, for Paris and the guidance of his brother Theo.  He entered Paris as a shy, somber man and while his personality would never change, he emerged artistically into what one critic described as a "singing bird". While van Gogh had been influenced by great Dutch masters, coming to Paris meant that he was influenced by Impressionists, Symbolists, Pointillists, and Japanese prints.  His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard and others.  The works of Japanese artists Hiroshige and Hokusai greatly influenced van Gogh, both for the beautiful subject matter and the style of flat patterns of colors without shadow.  Van Gogh explored the various influences and molded them into a style that was uniquely his own.  In the years 1886 to 1888, van Gogh emerged as a sophisticated, thoughtful and provoking artist. This painting demonstrates his journey of creativity in that period.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: Explain the Van Gogh's influence in Paris of this artwork, Agostina Segatori Sitting in the Café du Tambourin.

In 1886 van Gogh left the Netherlands, never to return, for Paris and the guidance of his brother Theo.  He entered Paris as a shy, somber man and while his personality would never change, he emerged artistically into what one critic described as a "singing bird". While van Gogh had been influenced by great Dutch masters, coming to Paris meant that he was influenced by Impressionists, Symbolists, Pointillists, and Japanese prints.  His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard and others.  The works of Japanese artists Hiroshige and Hokusai greatly influenced van Gogh, both for the beautiful subject matter and the style of flat patterns of colors without shadow.  Van Gogh explored the various influences and molded them into a style that was uniquely his own.  In the years 1886 to 1888, van Gogh emerged as a sophisticated, thoughtful and provoking artist. This painting demonstrates his journey of creativity in that period.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: How does Agostina Segatori Sitting in the Café du Tambourin explain its Van Gogh's influence in Paris?

In 1886 van Gogh left the Netherlands, never to return, for Paris and the guidance of his brother Theo.  He entered Paris as a shy, somber man and while his personality would never change, he emerged artistically into what one critic described as a "singing bird". While van Gogh had been influenced by great Dutch masters, coming to Paris meant that he was influenced by Impressionists, Symbolists, Pointillists, and Japanese prints.  His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard and others.  The works of Japanese artists Hiroshige and Hokusai greatly influenced van Gogh, both for the beautiful subject matter and the style of flat patterns of colors without shadow.  Van Gogh explored the various influences and molded them into a style that was uniquely his own.  In the years 1886 to 1888, van Gogh emerged as a sophisticated, thoughtful and provoking artist. This painting demonstrates his journey of creativity in that period.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: In Agostina Segatori Sitting in the Café du Tambourin, how is the Van Gogh's influence in Paris discussed?

In 1886 van Gogh left the Netherlands, never to return, for Paris and the guidance of his brother Theo.  He entered Paris as a shy, somber man and while his personality would never change, he emerged artistically into what one critic described as a "singing bird". While van Gogh had been influenced by great Dutch masters, coming to Paris meant that he was influenced by Impressionists, Symbolists, Pointillists, and Japanese prints.  His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard and others.  The works of Japanese artists Hiroshige and Hokusai greatly influenced van Gogh, both for the beautiful subject matter and the style of flat patterns of colors without shadow.  Van Gogh explored the various influences and molded them into a style that was uniquely his own.  In the years 1886 to 1888, van Gogh emerged as a sophisticated, thoughtful and provoking artist. This painting demonstrates his journey of creativity in that period.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: Focus on Agostina Segatori Sitting in the Café du Tambourin and explain the The painting.

In the painting Agostina, a woman in her forties, can be seen smoking a cigarette while having her second glass of beer, evidenced by two saucers under the mug of beer.  In demeanor and style, such as her clothing, make-up and hairstyle, she is a modern woman. She is wearing a fashionable hat.  According to the style at the time, her jacket is a different design than her dress.  A parasol sits on one of the seats next to her.Van Gogh used the theme of a woman sitting at a small table, introduced by Impressionists, such as Edgar Degas and Édouard Manet. The table and stools were in the shape of tambourines, befitting the café's theme. On the wall behind her are van Gogh's Japanese prints, which he began exhibiting at the café in February 1887.The brightly colored painting and confident subject represent a shift in Van Gogh's attitude in comparison to his earlier subjects, such as his dark and tragic peasants.  Even more, van Gogh's Portrait of Père Tanguy from the fall of the same year further explores his use of color and better promotes his Japanese prints.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: Explain the The painting of this artwork, Agostina Segatori Sitting in the Café du Tambourin.

In the painting Agostina, a woman in her forties, can be seen smoking a cigarette while having her second glass of beer, evidenced by two saucers under the mug of beer.  In demeanor and style, such as her clothing, make-up and hairstyle, she is a modern woman. She is wearing a fashionable hat.  According to the style at the time, her jacket is a different design than her dress.  A parasol sits on one of the seats next to her.Van Gogh used the theme of a woman sitting at a small table, introduced by Impressionists, such as Edgar Degas and Édouard Manet. The table and stools were in the shape of tambourines, befitting the café's theme. On the wall behind her are van Gogh's Japanese prints, which he began exhibiting at the café in February 1887.The brightly colored painting and confident subject represent a shift in Van Gogh's attitude in comparison to his earlier subjects, such as his dark and tragic peasants.  Even more, van Gogh's Portrait of Père Tanguy from the fall of the same year further explores his use of color and better promotes his Japanese prints.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: How does Agostina Segatori Sitting in the Café du Tambourin explain its The painting?

In the painting Agostina, a woman in her forties, can be seen smoking a cigarette while having her second glass of beer, evidenced by two saucers under the mug of beer.  In demeanor and style, such as her clothing, make-up and hairstyle, she is a modern woman. She is wearing a fashionable hat.  According to the style at the time, her jacket is a different design than her dress.  A parasol sits on one of the seats next to her.Van Gogh used the theme of a woman sitting at a small table, introduced by Impressionists, such as Edgar Degas and Édouard Manet. The table and stools were in the shape of tambourines, befitting the café's theme. On the wall behind her are van Gogh's Japanese prints, which he began exhibiting at the café in February 1887.The brightly colored painting and confident subject represent a shift in Van Gogh's attitude in comparison to his earlier subjects, such as his dark and tragic peasants.  Even more, van Gogh's Portrait of Père Tanguy from the fall of the same year further explores his use of color and better promotes his Japanese prints.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: In Agostina Segatori Sitting in the Café du Tambourin, how is the The painting discussed?

In the painting Agostina, a woman in her forties, can be seen smoking a cigarette while having her second glass of beer, evidenced by two saucers under the mug of beer.  In demeanor and style, such as her clothing, make-up and hairstyle, she is a modern woman. She is wearing a fashionable hat.  According to the style at the time, her jacket is a different design than her dress.  A parasol sits on one of the seats next to her.Van Gogh used the theme of a woman sitting at a small table, introduced by Impressionists, such as Edgar Degas and Édouard Manet. The table and stools were in the shape of tambourines, befitting the café's theme. On the wall behind her are van Gogh's Japanese prints, which he began exhibiting at the café in February 1887.The brightly colored painting and confident subject represent a shift in Van Gogh's attitude in comparison to his earlier subjects, such as his dark and tragic peasants.  Even more, van Gogh's Portrait of Père Tanguy from the fall of the same year further explores his use of color and better promotes his Japanese prints.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: Focus on Agostina Segatori Sitting in the Café du Tambourin and explain the Café du Tambourin.

Van Gogh occasionally visited Café du Tambourin run by Agostina Segatori, the subject of this painting. Previously an artist's model to Manet, Corot and others, the Naples-born Agostina saved the money she earned working as a model and opened the Italian-themed Café du Tambourin in 1885, which particularly catered to artists.The café on the Boulevard de Clichy in Paris was just around the corner from the home that Vincent lived in with his brother Theo. Besides convenience, the restaurant was notable to Van Gogh as a venue for exhibition of his paintings, a practice initiated by artists such as Henri de Toulouse-Lautrec, Paul-Albert Besnard and others.In 1887 van Gogh had several meals a week at the café which were paid in paintings to adorn the restaurant's walls.  He fell in love with Agostina who was twelve years older. Soon after, though, Agostina and the establishment fell on hard times.  She became ill and the business, in debt and likely involved in illegal prostitution, failed.  Although assured by Agostina that van Gogh could claim his paintings, according to Émile Bernard's recollection, debtors sold them "as waste canvas" in batches of 10, ranging in price from 50 centimes to one franc per bundle. Due to the bankruptcy of the cafe van Gogh lost not only the paintings, mostly still life works of flowers, but also the frames.Agostina Segatori Sitting in the Café du Tambourin is on display at the Van Gogh Museum in Amsterdam, the Netherlands.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: Explain the Café du Tambourin of this artwork, Agostina Segatori Sitting in the Café du Tambourin.

Van Gogh occasionally visited Café du Tambourin run by Agostina Segatori, the subject of this painting. Previously an artist's model to Manet, Corot and others, the Naples-born Agostina saved the money she earned working as a model and opened the Italian-themed Café du Tambourin in 1885, which particularly catered to artists.The café on the Boulevard de Clichy in Paris was just around the corner from the home that Vincent lived in with his brother Theo. Besides convenience, the restaurant was notable to Van Gogh as a venue for exhibition of his paintings, a practice initiated by artists such as Henri de Toulouse-Lautrec, Paul-Albert Besnard and others.In 1887 van Gogh had several meals a week at the café which were paid in paintings to adorn the restaurant's walls.  He fell in love with Agostina who was twelve years older. Soon after, though, Agostina and the establishment fell on hard times.  She became ill and the business, in debt and likely involved in illegal prostitution, failed.  Although assured by Agostina that van Gogh could claim his paintings, according to Émile Bernard's recollection, debtors sold them "as waste canvas" in batches of 10, ranging in price from 50 centimes to one franc per bundle. Due to the bankruptcy of the cafe van Gogh lost not only the paintings, mostly still life works of flowers, but also the frames.Agostina Segatori Sitting in the Café du Tambourin is on display at the Van Gogh Museum in Amsterdam, the Netherlands.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: How does Agostina Segatori Sitting in the Café du Tambourin explain its Café du Tambourin?

Van Gogh occasionally visited Café du Tambourin run by Agostina Segatori, the subject of this painting. Previously an artist's model to Manet, Corot and others, the Naples-born Agostina saved the money she earned working as a model and opened the Italian-themed Café du Tambourin in 1885, which particularly catered to artists.The café on the Boulevard de Clichy in Paris was just around the corner from the home that Vincent lived in with his brother Theo. Besides convenience, the restaurant was notable to Van Gogh as a venue for exhibition of his paintings, a practice initiated by artists such as Henri de Toulouse-Lautrec, Paul-Albert Besnard and others.In 1887 van Gogh had several meals a week at the café which were paid in paintings to adorn the restaurant's walls.  He fell in love with Agostina who was twelve years older. Soon after, though, Agostina and the establishment fell on hard times.  She became ill and the business, in debt and likely involved in illegal prostitution, failed.  Although assured by Agostina that van Gogh could claim his paintings, according to Émile Bernard's recollection, debtors sold them "as waste canvas" in batches of 10, ranging in price from 50 centimes to one franc per bundle. Due to the bankruptcy of the cafe van Gogh lost not only the paintings, mostly still life works of flowers, but also the frames.Agostina Segatori Sitting in the Café du Tambourin is on display at the Van Gogh Museum in Amsterdam, the Netherlands.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: In Agostina Segatori Sitting in the Café du Tambourin, how is the Café du Tambourin discussed?

Van Gogh occasionally visited Café du Tambourin run by Agostina Segatori, the subject of this painting. Previously an artist's model to Manet, Corot and others, the Naples-born Agostina saved the money she earned working as a model and opened the Italian-themed Café du Tambourin in 1885, which particularly catered to artists.The café on the Boulevard de Clichy in Paris was just around the corner from the home that Vincent lived in with his brother Theo. Besides convenience, the restaurant was notable to Van Gogh as a venue for exhibition of his paintings, a practice initiated by artists such as Henri de Toulouse-Lautrec, Paul-Albert Besnard and others.In 1887 van Gogh had several meals a week at the café which were paid in paintings to adorn the restaurant's walls.  He fell in love with Agostina who was twelve years older. Soon after, though, Agostina and the establishment fell on hard times.  She became ill and the business, in debt and likely involved in illegal prostitution, failed.  Although assured by Agostina that van Gogh could claim his paintings, according to Émile Bernard's recollection, debtors sold them "as waste canvas" in batches of 10, ranging in price from 50 centimes to one franc per bundle. Due to the bankruptcy of the cafe van Gogh lost not only the paintings, mostly still life works of flowers, but also the frames.Agostina Segatori Sitting in the Café du Tambourin is on display at the Van Gogh Museum in Amsterdam, the Netherlands.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Madonna Litta

Prompt: Focus on Madonna Litta and explain the abstract.

The Madonna Litta is a late 15th-century painting, by Leonardo da Vinci, in the Hermitage Museum, Saint Petersburg. It depicts the Virgin Mary breastfeeding the Christ child, a devotional subject known as the Madonna lactans. The figures are set in a dark interior with two arched openings, as in Leonardo's earlier Madonna of the Carnation, and a mountainous landscape in aerial perspective can be seen beyond. In his left hand Christ holds a goldfinch, which is symbolic of his future Passion.Scholarly opinion is divided on the work's attribution, with some believing it to be the work of a pupil of Leonardo such as Giovanni Antonio Boltraffio or Marco d'Oggiono; the Hermitage Museum, however, considers the painting to be an autograph work by Leonardo. The painting takes its name from the House of Litta, a Milanese noble family in whose collection it was for much of the nineteenth century.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna Litta

Prompt: Explain the abstract of this artwork, Madonna Litta.

The Madonna Litta is a late 15th-century painting, by Leonardo da Vinci, in the Hermitage Museum, Saint Petersburg. It depicts the Virgin Mary breastfeeding the Christ child, a devotional subject known as the Madonna lactans. The figures are set in a dark interior with two arched openings, as in Leonardo's earlier Madonna of the Carnation, and a mountainous landscape in aerial perspective can be seen beyond. In his left hand Christ holds a goldfinch, which is symbolic of his future Passion.Scholarly opinion is divided on the work's attribution, with some believing it to be the work of a pupil of Leonardo such as Giovanni Antonio Boltraffio or Marco d'Oggiono; the Hermitage Museum, however, considers the painting to be an autograph work by Leonardo. The painting takes its name from the House of Litta, a Milanese noble family in whose collection it was for much of the nineteenth century.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna Litta

Prompt: How does Madonna Litta explain its abstract?

The Madonna Litta is a late 15th-century painting, by Leonardo da Vinci, in the Hermitage Museum, Saint Petersburg. It depicts the Virgin Mary breastfeeding the Christ child, a devotional subject known as the Madonna lactans. The figures are set in a dark interior with two arched openings, as in Leonardo's earlier Madonna of the Carnation, and a mountainous landscape in aerial perspective can be seen beyond. In his left hand Christ holds a goldfinch, which is symbolic of his future Passion.Scholarly opinion is divided on the work's attribution, with some believing it to be the work of a pupil of Leonardo such as Giovanni Antonio Boltraffio or Marco d'Oggiono; the Hermitage Museum, however, considers the painting to be an autograph work by Leonardo. The painting takes its name from the House of Litta, a Milanese noble family in whose collection it was for much of the nineteenth century.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna Litta

Prompt: In Madonna Litta, how is the abstract discussed?

The Madonna Litta is a late 15th-century painting, by Leonardo da Vinci, in the Hermitage Museum, Saint Petersburg. It depicts the Virgin Mary breastfeeding the Christ child, a devotional subject known as the Madonna lactans. The figures are set in a dark interior with two arched openings, as in Leonardo's earlier Madonna of the Carnation, and a mountainous landscape in aerial perspective can be seen beyond. In his left hand Christ holds a goldfinch, which is symbolic of his future Passion.Scholarly opinion is divided on the work's attribution, with some believing it to be the work of a pupil of Leonardo such as Giovanni Antonio Boltraffio or Marco d'Oggiono; the Hermitage Museum, however, considers the painting to be an autograph work by Leonardo. The painting takes its name from the House of Litta, a Milanese noble family in whose collection it was for much of the nineteenth century.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna Litta

Prompt: Focus on Madonna Litta and explain the History.

The Madonna Litta might be one of the paintings of the Madonna and Child recorded in Leonardo's studio before or during his first Milanese period (c.1481–1483 to 1499). On a drawing in the Uffizi Leonardo noted that he had begun “two Virgin Maries” in late 1478 and an inventory of his studio written in 1482 (part of the Codex Atlanticus) again mentions two paintings of “Our Lady”. The second of these is, according to different interpretations, either noted as being “almost finished, in profile” or “finished, almost in profile”. The Virgin's head in the Madonna Litta could be described either way, and it has therefore been argued that the painting was begun in Leonardo's first Florentine period and left unfinished until it was later worked up by a pupil in Milan. Scientific analysis of the painting has, however, suggested that it was produced by only one artist.Several drawings have been identified as preparatory to the Madonna Litta. One, which is universally attributed to Leonardo, is a metalpoint drawing of a young woman's face in near profile, part of the Codex Vallardi in the Louvre. There is evidence that this sheet was used as an exemplum for teaching pupils in Leonardo’s workshop; on the reverse another artist has traced the outline of the face in pen and ink, a technique Leonardo himself used when developing compositions. Further evidence of pupils copying the drawing comes in the form of a direct copy, by a rather uncertain draughtsman, on a sheet which was turned over and reused for a different drawing by another sixteenth-century artist; this is now in the Städel in Frankfurt.Two other drawings, in metalpoint with white lead highlights on blue prepared paper, are attributed to a follower of Leonardo, usually considered to be Giovanni Antonio Boltraffio. One, a study for the Christ child's head, is in the Fondation Custodia in Paris; the other, in the Kupferstichkabinett in Berlin, is a drapery study for the Virgin's garments. These have been attributed to Boltraffio on the basis of the Berlin drawing's similarity to other drapery studies by the artist. It has been argued that the Paris and Berlin drawings are preparatory studies for the Madonna Litta rather than copies after it, as the drapery study shows more of the Virgin's right arm than the finished work, in which this is obscured by Christ's head. This suggests that the composition was partly pieced together from these studies.A further related drawing in the Metropolitan Museum of Art, attributed to Boltraffio, is of the Virgin's face in strict profile and does not resemble the finished painting in the Hermitage. It has been argued that this study might represent an earlier idea by a pupil for the composition of the Madonna Litta, which the master Leonardo then 'corrected' with the drawing in the Louvre.The painting was repainted by an artist other than Leonardo in Milan around 1495.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna Litta

Prompt: Explain the History of this artwork, Madonna Litta.

The Madonna Litta might be one of the paintings of the Madonna and Child recorded in Leonardo's studio before or during his first Milanese period (c.1481–1483 to 1499). On a drawing in the Uffizi Leonardo noted that he had begun “two Virgin Maries” in late 1478 and an inventory of his studio written in 1482 (part of the Codex Atlanticus) again mentions two paintings of “Our Lady”. The second of these is, according to different interpretations, either noted as being “almost finished, in profile” or “finished, almost in profile”. The Virgin's head in the Madonna Litta could be described either way, and it has therefore been argued that the painting was begun in Leonardo's first Florentine period and left unfinished until it was later worked up by a pupil in Milan. Scientific analysis of the painting has, however, suggested that it was produced by only one artist.Several drawings have been identified as preparatory to the Madonna Litta. One, which is universally attributed to Leonardo, is a metalpoint drawing of a young woman's face in near profile, part of the Codex Vallardi in the Louvre. There is evidence that this sheet was used as an exemplum for teaching pupils in Leonardo’s workshop; on the reverse another artist has traced the outline of the face in pen and ink, a technique Leonardo himself used when developing compositions. Further evidence of pupils copying the drawing comes in the form of a direct copy, by a rather uncertain draughtsman, on a sheet which was turned over and reused for a different drawing by another sixteenth-century artist; this is now in the Städel in Frankfurt.Two other drawings, in metalpoint with white lead highlights on blue prepared paper, are attributed to a follower of Leonardo, usually considered to be Giovanni Antonio Boltraffio. One, a study for the Christ child's head, is in the Fondation Custodia in Paris; the other, in the Kupferstichkabinett in Berlin, is a drapery study for the Virgin's garments. These have been attributed to Boltraffio on the basis of the Berlin drawing's similarity to other drapery studies by the artist. It has been argued that the Paris and Berlin drawings are preparatory studies for the Madonna Litta rather than copies after it, as the drapery study shows more of the Virgin's right arm than the finished work, in which this is obscured by Christ's head. This suggests that the composition was partly pieced together from these studies.A further related drawing in the Metropolitan Museum of Art, attributed to Boltraffio, is of the Virgin's face in strict profile and does not resemble the finished painting in the Hermitage. It has been argued that this study might represent an earlier idea by a pupil for the composition of the Madonna Litta, which the master Leonardo then 'corrected' with the drawing in the Louvre.The painting was repainted by an artist other than Leonardo in Milan around 1495.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna Litta

Prompt: How does Madonna Litta explain its History?

The Madonna Litta might be one of the paintings of the Madonna and Child recorded in Leonardo's studio before or during his first Milanese period (c.1481–1483 to 1499). On a drawing in the Uffizi Leonardo noted that he had begun “two Virgin Maries” in late 1478 and an inventory of his studio written in 1482 (part of the Codex Atlanticus) again mentions two paintings of “Our Lady”. The second of these is, according to different interpretations, either noted as being “almost finished, in profile” or “finished, almost in profile”. The Virgin's head in the Madonna Litta could be described either way, and it has therefore been argued that the painting was begun in Leonardo's first Florentine period and left unfinished until it was later worked up by a pupil in Milan. Scientific analysis of the painting has, however, suggested that it was produced by only one artist.Several drawings have been identified as preparatory to the Madonna Litta. One, which is universally attributed to Leonardo, is a metalpoint drawing of a young woman's face in near profile, part of the Codex Vallardi in the Louvre. There is evidence that this sheet was used as an exemplum for teaching pupils in Leonardo’s workshop; on the reverse another artist has traced the outline of the face in pen and ink, a technique Leonardo himself used when developing compositions. Further evidence of pupils copying the drawing comes in the form of a direct copy, by a rather uncertain draughtsman, on a sheet which was turned over and reused for a different drawing by another sixteenth-century artist; this is now in the Städel in Frankfurt.Two other drawings, in metalpoint with white lead highlights on blue prepared paper, are attributed to a follower of Leonardo, usually considered to be Giovanni Antonio Boltraffio. One, a study for the Christ child's head, is in the Fondation Custodia in Paris; the other, in the Kupferstichkabinett in Berlin, is a drapery study for the Virgin's garments. These have been attributed to Boltraffio on the basis of the Berlin drawing's similarity to other drapery studies by the artist. It has been argued that the Paris and Berlin drawings are preparatory studies for the Madonna Litta rather than copies after it, as the drapery study shows more of the Virgin's right arm than the finished work, in which this is obscured by Christ's head. This suggests that the composition was partly pieced together from these studies.A further related drawing in the Metropolitan Museum of Art, attributed to Boltraffio, is of the Virgin's face in strict profile and does not resemble the finished painting in the Hermitage. It has been argued that this study might represent an earlier idea by a pupil for the composition of the Madonna Litta, which the master Leonardo then 'corrected' with the drawing in the Louvre.The painting was repainted by an artist other than Leonardo in Milan around 1495.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna Litta

Prompt: In Madonna Litta, how is the History discussed?

The Madonna Litta might be one of the paintings of the Madonna and Child recorded in Leonardo's studio before or during his first Milanese period (c.1481–1483 to 1499). On a drawing in the Uffizi Leonardo noted that he had begun “two Virgin Maries” in late 1478 and an inventory of his studio written in 1482 (part of the Codex Atlanticus) again mentions two paintings of “Our Lady”. The second of these is, according to different interpretations, either noted as being “almost finished, in profile” or “finished, almost in profile”. The Virgin's head in the Madonna Litta could be described either way, and it has therefore been argued that the painting was begun in Leonardo's first Florentine period and left unfinished until it was later worked up by a pupil in Milan. Scientific analysis of the painting has, however, suggested that it was produced by only one artist.Several drawings have been identified as preparatory to the Madonna Litta. One, which is universally attributed to Leonardo, is a metalpoint drawing of a young woman's face in near profile, part of the Codex Vallardi in the Louvre. There is evidence that this sheet was used as an exemplum for teaching pupils in Leonardo’s workshop; on the reverse another artist has traced the outline of the face in pen and ink, a technique Leonardo himself used when developing compositions. Further evidence of pupils copying the drawing comes in the form of a direct copy, by a rather uncertain draughtsman, on a sheet which was turned over and reused for a different drawing by another sixteenth-century artist; this is now in the Städel in Frankfurt.Two other drawings, in metalpoint with white lead highlights on blue prepared paper, are attributed to a follower of Leonardo, usually considered to be Giovanni Antonio Boltraffio. One, a study for the Christ child's head, is in the Fondation Custodia in Paris; the other, in the Kupferstichkabinett in Berlin, is a drapery study for the Virgin's garments. These have been attributed to Boltraffio on the basis of the Berlin drawing's similarity to other drapery studies by the artist. It has been argued that the Paris and Berlin drawings are preparatory studies for the Madonna Litta rather than copies after it, as the drapery study shows more of the Virgin's right arm than the finished work, in which this is obscured by Christ's head. This suggests that the composition was partly pieced together from these studies.A further related drawing in the Metropolitan Museum of Art, attributed to Boltraffio, is of the Virgin's face in strict profile and does not resemble the finished painting in the Hermitage. It has been argued that this study might represent an earlier idea by a pupil for the composition of the Madonna Litta, which the master Leonardo then 'corrected' with the drawing in the Louvre.The painting was repainted by an artist other than Leonardo in Milan around 1495.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna Litta

Prompt: In the context of Madonna Litta, explain the Provenance and the History.

It has been speculated that Leonardo might have taken the Madonna Litta with him to Venice in March 1500, as the diarist Marcantonio Michiel apparently recorded its presence in the Ca' Contarini in that city in 1543:There is a little picture, of a foot or a little more, of an Our Lady, half length, who gives milk to the little boy, coloured by the hand of Leonardo da Vinci, a work of great power and highly finished.The earliest print of the composition is Venetian, by an artist in the circle of Zoan Andrea, and at least one painted copy by the Venetian school is known, in the Museo di Castelvecchio in Verona.In 1784, the earliest secure date in its provenance, the painting was bought by Prince Alberico XII di Belgioioso from one Giuseppe Ro. After Belgioioso's death in 1813 it passed into the collection of the Litta family, from whom it takes its current name. In 1865 the Russian Tsar Alexander II acquired the panel from Count Antonio Litta, quondam minister to Saint Petersburg, for the Hermitage Museum, where it has been exhibited to this day. Upon acquiring the painting the Hermitage had it transferred from wood to canvas, when it was again repainted.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna Litta

Prompt: Explain the Provenance about the History of this artwork, Madonna Litta.

It has been speculated that Leonardo might have taken the Madonna Litta with him to Venice in March 1500, as the diarist Marcantonio Michiel apparently recorded its presence in the Ca' Contarini in that city in 1543:There is a little picture, of a foot or a little more, of an Our Lady, half length, who gives milk to the little boy, coloured by the hand of Leonardo da Vinci, a work of great power and highly finished.The earliest print of the composition is Venetian, by an artist in the circle of Zoan Andrea, and at least one painted copy by the Venetian school is known, in the Museo di Castelvecchio in Verona.In 1784, the earliest secure date in its provenance, the painting was bought by Prince Alberico XII di Belgioioso from one Giuseppe Ro. After Belgioioso's death in 1813 it passed into the collection of the Litta family, from whom it takes its current name. In 1865 the Russian Tsar Alexander II acquired the panel from Count Antonio Litta, quondam minister to Saint Petersburg, for the Hermitage Museum, where it has been exhibited to this day. Upon acquiring the painting the Hermitage had it transferred from wood to canvas, when it was again repainted.

File:Léonard de Vinci - Codex Vallardi 2376 r.jpg

Category:Paintings in the Hermitage Museum

Attributed to Giovanni Antonio Boltraffio, ''Head of a woman in profile facing left'' (1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.

pages=153, 185}}</ref> Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 [[recto and verso

Leonardo da Vinci, ''Head of a young woman in near profile'' (c. 1480).<ref name=time>{{cite book

File:The Head of a Woman in Profile Facing Left MET DP810249.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci