Diana and Her Companions

Prompt: In Diana and Her Companions, how is the Critical commentary discussed?

The painting has an "overwhelming sense of solemnity more associated with Christian than with mythological traditions", according to Wheelock. The work may combine the Christian symbolism of foot-washing as purification with the allusions to chastity and purity invoked by Diana's modest dress and the white cloth and brass basin at her feet. The companion holding her own foot strongly resembles the ancient Spinario statue, a figure in a nearly identical pose, who is removing a thorn from the bottom of his foot. The thorn is a Christian symbol of the grief and trials of Jesus or of the suffering in this world.Foot washing is also a Christian symbol of humility and the nearness of death, and "the dignity with which Diana's companion performs her service recalls mary Magdalene washing Christ's feet with her tears", according to Wheelock (Christ also kneeled before his disciples and washed their feet at the Last Supper). Selena Cant believes Vermeer's contemporaries would have immediately drawn the association of foot-washing with the idea of Jesus washing feet. "[T]his maidservant steals the scene", according to Cant, who points out the "unusual brown-bronze bodice" worn by the servant.According to Wheelock, the painting "has [...] no obvious literary source". As a depiction of Diana, the painting is notable in part for what it does not depict—neither Actaeon catching sight of Diana and her nymphs bathing nor the actual moment when Callisto's pregnancy is revealed, both popular themes in mannerist painting in the early 17th century. Nor does the artist show Diana's hot temper or her harsh reactions to those episodes. The goddess's ability as a huntress is not signalled by dead game or bows and arrows. Even the dog is depicted as a gentle animal, not like the fast hounds normally seen in paintings of Diana.Ovid's Metamorphoses mentions that just before discovering Callisto's pregnancy, Diana washed her feet and then she and her attendants disrobed. Walter Liedtke points out that the nymph standing somewhat apart from the group, with her hands clenched in front of her abdomen, perhaps in contrast with the nymph showing devotion and fidelity by washing feet, may be Callisto. This scene would then illustrate part of that myth narrative, Liedtke asserts, although Wheelock states that the episode seems unrelated to the mood of the painting.The painting, according to Liedtke, "shows the artist already addressing his usual theme, women in private moments, and the complications of desire" as well as "the ability to sympathetically describe the private lives of women," and, while not as "profound" as Rembrandt's Bathsheba, Vermeer's work is "remarkable for its tenderness and sincerity", Liedtke believes. He notes that the painting shows the artist's aptitude for learning from the example of other artists and for observing light and color.

Christ in the House of Martha and Mary (Vermeer)

File:Vermeer - Diana en haar gezelschap (19th version with a blue sky).jpg

File:Rembrandt Harmensz. van Rijn 016.jpg

File:The Capitoline Spinario-Musei Capitolini.jpg


Diana and Her Companions

Prompt: Focus on Diana and Her Companions and explain the Dating and position within Vermeer's life and work.

The painting was created at about the time (or within a few years after) Vermeer joined the painters' guild in Delft on December 29, 1653, at the age of 21, the same year he converted to Catholicism and married Catharina Bolnes. Leidtke speculates that the ideas of purity and fidelity symbolized in the painting were connected to Vermeer's marriage, and that perhaps the work was created in tribute to his new wife.With its less assured brushwork and cautious arrangement of elements, Diana is less mature in its technique and positioning of the figures than Martha and Mary, which may indicate the other work was painted afterward, as Vermeer's experience grew, according to Liedtke.

Christ in the House of Martha and Mary (Vermeer)

File:Vermeer - Diana en haar gezelschap (19th version with a blue sky).jpg

File:Rembrandt Harmensz. van Rijn 016.jpg

File:The Capitoline Spinario-Musei Capitolini.jpg


Diana and Her Companions

Prompt: Explain the Dating and position within Vermeer's life and work of this artwork, Diana and Her Companions.

The painting was created at about the time (or within a few years after) Vermeer joined the painters' guild in Delft on December 29, 1653, at the age of 21, the same year he converted to Catholicism and married Catharina Bolnes. Leidtke speculates that the ideas of purity and fidelity symbolized in the painting were connected to Vermeer's marriage, and that perhaps the work was created in tribute to his new wife.With its less assured brushwork and cautious arrangement of elements, Diana is less mature in its technique and positioning of the figures than Martha and Mary, which may indicate the other work was painted afterward, as Vermeer's experience grew, according to Liedtke.

Christ in the House of Martha and Mary (Vermeer)

File:Vermeer - Diana en haar gezelschap (19th version with a blue sky).jpg

File:Rembrandt Harmensz. van Rijn 016.jpg

File:The Capitoline Spinario-Musei Capitolini.jpg


Diana and Her Companions

Prompt: How does Diana and Her Companions explain its Dating and position within Vermeer's life and work?

The painting was created at about the time (or within a few years after) Vermeer joined the painters' guild in Delft on December 29, 1653, at the age of 21, the same year he converted to Catholicism and married Catharina Bolnes. Leidtke speculates that the ideas of purity and fidelity symbolized in the painting were connected to Vermeer's marriage, and that perhaps the work was created in tribute to his new wife.With its less assured brushwork and cautious arrangement of elements, Diana is less mature in its technique and positioning of the figures than Martha and Mary, which may indicate the other work was painted afterward, as Vermeer's experience grew, according to Liedtke.

Christ in the House of Martha and Mary (Vermeer)

File:Vermeer - Diana en haar gezelschap (19th version with a blue sky).jpg

File:Rembrandt Harmensz. van Rijn 016.jpg

File:The Capitoline Spinario-Musei Capitolini.jpg


Diana and Her Companions

Prompt: In Diana and Her Companions, how is the Dating and position within Vermeer's life and work discussed?

The painting was created at about the time (or within a few years after) Vermeer joined the painters' guild in Delft on December 29, 1653, at the age of 21, the same year he converted to Catholicism and married Catharina Bolnes. Leidtke speculates that the ideas of purity and fidelity symbolized in the painting were connected to Vermeer's marriage, and that perhaps the work was created in tribute to his new wife.With its less assured brushwork and cautious arrangement of elements, Diana is less mature in its technique and positioning of the figures than Martha and Mary, which may indicate the other work was painted afterward, as Vermeer's experience grew, according to Liedtke.

Christ in the House of Martha and Mary (Vermeer)

File:Vermeer - Diana en haar gezelschap (19th version with a blue sky).jpg

File:Rembrandt Harmensz. van Rijn 016.jpg

File:The Capitoline Spinario-Musei Capitolini.jpg


Diana and Her Companions

Prompt: Focus on Diana and Her Companions and explain the Provenance and exhibitions.

Neville Davison Goldsmid of The Hague owned the painting from 1866-1875, before it passed into the hands of his widow, Eliza Garey of The Hague and Paris. She sold it with other works at the Goldsmid sale on May 4, 1876, when Victor de Stuers bought it for the collection of the Koninklijk Kabinet van Schilderijen Mauritshuis, the Hague.Exhibitions:London, 1929Amsterdam, 1945Milan, 1951Zurich, 1953Rome, Milan, 1954New York, Toledo, Toronto, 1954-1955The Hague, Paris, 1966Tokyo, Kyoto, 1968-1969Washington, Detroit, Amsterdam 1980-1981Washington and other cities (shown in Tokyo only), 1982-1984Washington, The Hague, 1995-1996Rotterdam, Frankfort, 1999-2000

Christ in the House of Martha and Mary (Vermeer)

File:Vermeer - Diana en haar gezelschap (19th version with a blue sky).jpg

File:Rembrandt Harmensz. van Rijn 016.jpg

File:The Capitoline Spinario-Musei Capitolini.jpg


Diana and Her Companions

Prompt: Explain the Provenance and exhibitions of this artwork, Diana and Her Companions.

Neville Davison Goldsmid of The Hague owned the painting from 1866-1875, before it passed into the hands of his widow, Eliza Garey of The Hague and Paris. She sold it with other works at the Goldsmid sale on May 4, 1876, when Victor de Stuers bought it for the collection of the Koninklijk Kabinet van Schilderijen Mauritshuis, the Hague.Exhibitions:London, 1929Amsterdam, 1945Milan, 1951Zurich, 1953Rome, Milan, 1954New York, Toledo, Toronto, 1954-1955The Hague, Paris, 1966Tokyo, Kyoto, 1968-1969Washington, Detroit, Amsterdam 1980-1981Washington and other cities (shown in Tokyo only), 1982-1984Washington, The Hague, 1995-1996Rotterdam, Frankfort, 1999-2000

Christ in the House of Martha and Mary (Vermeer)

File:Vermeer - Diana en haar gezelschap (19th version with a blue sky).jpg

File:Rembrandt Harmensz. van Rijn 016.jpg

File:The Capitoline Spinario-Musei Capitolini.jpg


Diana and Her Companions

Prompt: How does Diana and Her Companions explain its Provenance and exhibitions?

Neville Davison Goldsmid of The Hague owned the painting from 1866-1875, before it passed into the hands of his widow, Eliza Garey of The Hague and Paris. She sold it with other works at the Goldsmid sale on May 4, 1876, when Victor de Stuers bought it for the collection of the Koninklijk Kabinet van Schilderijen Mauritshuis, the Hague.Exhibitions:London, 1929Amsterdam, 1945Milan, 1951Zurich, 1953Rome, Milan, 1954New York, Toledo, Toronto, 1954-1955The Hague, Paris, 1966Tokyo, Kyoto, 1968-1969Washington, Detroit, Amsterdam 1980-1981Washington and other cities (shown in Tokyo only), 1982-1984Washington, The Hague, 1995-1996Rotterdam, Frankfort, 1999-2000

Christ in the House of Martha and Mary (Vermeer)

File:Vermeer - Diana en haar gezelschap (19th version with a blue sky).jpg

File:Rembrandt Harmensz. van Rijn 016.jpg

File:The Capitoline Spinario-Musei Capitolini.jpg


Diana and Her Companions

Prompt: In Diana and Her Companions, how is the Provenance and exhibitions discussed?

Neville Davison Goldsmid of The Hague owned the painting from 1866-1875, before it passed into the hands of his widow, Eliza Garey of The Hague and Paris. She sold it with other works at the Goldsmid sale on May 4, 1876, when Victor de Stuers bought it for the collection of the Koninklijk Kabinet van Schilderijen Mauritshuis, the Hague.Exhibitions:London, 1929Amsterdam, 1945Milan, 1951Zurich, 1953Rome, Milan, 1954New York, Toledo, Toronto, 1954-1955The Hague, Paris, 1966Tokyo, Kyoto, 1968-1969Washington, Detroit, Amsterdam 1980-1981Washington and other cities (shown in Tokyo only), 1982-1984Washington, The Hague, 1995-1996Rotterdam, Frankfort, 1999-2000

Christ in the House of Martha and Mary (Vermeer)

File:Vermeer - Diana en haar gezelschap (19th version with a blue sky).jpg

File:Rembrandt Harmensz. van Rijn 016.jpg

File:The Capitoline Spinario-Musei Capitolini.jpg


Diana and Her Companions

Prompt: Focus on Diana and Her Companions and explain the Condition.

The painting is in relatively poor condition. It has been cleaned and restored on a number of occasions and has depreciated as a result. Several areas of the canvas differ significantly from the original work.

Christ in the House of Martha and Mary (Vermeer)

File:Vermeer - Diana en haar gezelschap (19th version with a blue sky).jpg

File:Rembrandt Harmensz. van Rijn 016.jpg

File:The Capitoline Spinario-Musei Capitolini.jpg


Diana and Her Companions

Prompt: Explain the Condition of this artwork, Diana and Her Companions.

The painting is in relatively poor condition. It has been cleaned and restored on a number of occasions and has depreciated as a result. Several areas of the canvas differ significantly from the original work.

Christ in the House of Martha and Mary (Vermeer)

File:Vermeer - Diana en haar gezelschap (19th version with a blue sky).jpg

File:Rembrandt Harmensz. van Rijn 016.jpg

File:The Capitoline Spinario-Musei Capitolini.jpg


Diana and Her Companions

Prompt: How does Diana and Her Companions explain its Condition?

The painting is in relatively poor condition. It has been cleaned and restored on a number of occasions and has depreciated as a result. Several areas of the canvas differ significantly from the original work.

Christ in the House of Martha and Mary (Vermeer)

File:Vermeer - Diana en haar gezelschap (19th version with a blue sky).jpg

File:Rembrandt Harmensz. van Rijn 016.jpg

File:The Capitoline Spinario-Musei Capitolini.jpg


Diana and Her Companions

Prompt: In Diana and Her Companions, how is the Condition discussed?

The painting is in relatively poor condition. It has been cleaned and restored on a number of occasions and has depreciated as a result. Several areas of the canvas differ significantly from the original work.

Christ in the House of Martha and Mary (Vermeer)

File:Vermeer - Diana en haar gezelschap (19th version with a blue sky).jpg

File:Rembrandt Harmensz. van Rijn 016.jpg

File:The Capitoline Spinario-Musei Capitolini.jpg


Portrait of Leo X (Raphael)

Prompt: Focus on Portrait of Leo X (Raphael) and explain the abstract.

The Portrait of Pope Leo X with two Cardinals, also known as Portrait of Pope Leo X with the cardinals Giulio de' Medici e Luigi de' Rossi (Italian: Ritratto di Leone X con i cardinali Giulio de' Medici e Luigi de' Rossi), is a painting by the Italian High Renaissance master Raphael, executed c. 1518-1520. It is housed in the Uffizi Gallery of Florence and currently on exhibition at the Palazzo Pitti.In contrast to works depicting classical, idealized Madonnas and figures from antiquity, this portrait shows the sitter in a realistic manner. The Pope is depicted with the weight of late middle age, while his sight appears to be strained. The painting sets up a series of visual contradictions between appearance and reality, intended by Raphael to reflect the unrest of a period of turmoil for the papacy. Martin Luther had recently challenged papal authority, listing among other grievances, Leo X's method of selling indulgences to fund work on St Peter's.The pommel on top of the Pope's chair evokes the symbolic abacus balls of the Medici family, while the illuminated Bible open on the table has been identified as the Hamilton Bible.The cardinal to the left of the painting has been identified as Giulio di Giuliano de' Medici (the future Pope Clement VII) while the other cardinal is usually identified as Luigi de' Rossi, who was a maternal cousin to both the other two portrayed.

Category:Paintings by Raphael in the Uffizi


Portrait of Leo X (Raphael)

Prompt: Explain the abstract of this artwork, Portrait of Leo X (Raphael).

The Portrait of Pope Leo X with two Cardinals, also known as Portrait of Pope Leo X with the cardinals Giulio de' Medici e Luigi de' Rossi (Italian: Ritratto di Leone X con i cardinali Giulio de' Medici e Luigi de' Rossi), is a painting by the Italian High Renaissance master Raphael, executed c. 1518-1520. It is housed in the Uffizi Gallery of Florence and currently on exhibition at the Palazzo Pitti.In contrast to works depicting classical, idealized Madonnas and figures from antiquity, this portrait shows the sitter in a realistic manner. The Pope is depicted with the weight of late middle age, while his sight appears to be strained. The painting sets up a series of visual contradictions between appearance and reality, intended by Raphael to reflect the unrest of a period of turmoil for the papacy. Martin Luther had recently challenged papal authority, listing among other grievances, Leo X's method of selling indulgences to fund work on St Peter's.The pommel on top of the Pope's chair evokes the symbolic abacus balls of the Medici family, while the illuminated Bible open on the table has been identified as the Hamilton Bible.The cardinal to the left of the painting has been identified as Giulio di Giuliano de' Medici (the future Pope Clement VII) while the other cardinal is usually identified as Luigi de' Rossi, who was a maternal cousin to both the other two portrayed.

Category:Paintings by Raphael in the Uffizi


Portrait of Leo X (Raphael)

Prompt: How does Portrait of Leo X (Raphael) explain its abstract?

The Portrait of Pope Leo X with two Cardinals, also known as Portrait of Pope Leo X with the cardinals Giulio de' Medici e Luigi de' Rossi (Italian: Ritratto di Leone X con i cardinali Giulio de' Medici e Luigi de' Rossi), is a painting by the Italian High Renaissance master Raphael, executed c. 1518-1520. It is housed in the Uffizi Gallery of Florence and currently on exhibition at the Palazzo Pitti.In contrast to works depicting classical, idealized Madonnas and figures from antiquity, this portrait shows the sitter in a realistic manner. The Pope is depicted with the weight of late middle age, while his sight appears to be strained. The painting sets up a series of visual contradictions between appearance and reality, intended by Raphael to reflect the unrest of a period of turmoil for the papacy. Martin Luther had recently challenged papal authority, listing among other grievances, Leo X's method of selling indulgences to fund work on St Peter's.The pommel on top of the Pope's chair evokes the symbolic abacus balls of the Medici family, while the illuminated Bible open on the table has been identified as the Hamilton Bible.The cardinal to the left of the painting has been identified as Giulio di Giuliano de' Medici (the future Pope Clement VII) while the other cardinal is usually identified as Luigi de' Rossi, who was a maternal cousin to both the other two portrayed.

Category:Paintings by Raphael in the Uffizi


Portrait of Leo X (Raphael)

Prompt: In Portrait of Leo X (Raphael), how is the abstract discussed?

The Portrait of Pope Leo X with two Cardinals, also known as Portrait of Pope Leo X with the cardinals Giulio de' Medici e Luigi de' Rossi (Italian: Ritratto di Leone X con i cardinali Giulio de' Medici e Luigi de' Rossi), is a painting by the Italian High Renaissance master Raphael, executed c. 1518-1520. It is housed in the Uffizi Gallery of Florence and currently on exhibition at the Palazzo Pitti.In contrast to works depicting classical, idealized Madonnas and figures from antiquity, this portrait shows the sitter in a realistic manner. The Pope is depicted with the weight of late middle age, while his sight appears to be strained. The painting sets up a series of visual contradictions between appearance and reality, intended by Raphael to reflect the unrest of a period of turmoil for the papacy. Martin Luther had recently challenged papal authority, listing among other grievances, Leo X's method of selling indulgences to fund work on St Peter's.The pommel on top of the Pope's chair evokes the symbolic abacus balls of the Medici family, while the illuminated Bible open on the table has been identified as the Hamilton Bible.The cardinal to the left of the painting has been identified as Giulio di Giuliano de' Medici (the future Pope Clement VII) while the other cardinal is usually identified as Luigi de' Rossi, who was a maternal cousin to both the other two portrayed.

Category:Paintings by Raphael in the Uffizi


The Story of Lucretia (Botticelli)

Prompt: Focus on The Story of Lucretia (Botticelli) and explain the abstract.

The Tragedy of Lucretia is a tempera and oil painting on a wood cassone or spalliera panel by the Italian Renaissance master Sandro Botticelli, painted between 1496 and 1504. Known less formally as the Botticelli Lucretia, it is housed in the Isabella Stewart Gardner Museum of Boston, Massachusetts, having been owned by Isabella Stewart Gardner in her lifetime.

Category:Paintings in the Isabella Stewart Gardner Museum

Right-hand scene. While her husband is away, the virtuous Lucretia is raped by Sextus Tarquinius, the king's son. After summoning her husband and others she reveals all and stabs herself. Here she has just done so and is dead.


The Story of Lucretia (Botticelli)

Prompt: Explain the abstract of this artwork, The Story of Lucretia (Botticelli).

The Tragedy of Lucretia is a tempera and oil painting on a wood cassone or spalliera panel by the Italian Renaissance master Sandro Botticelli, painted between 1496 and 1504. Known less formally as the Botticelli Lucretia, it is housed in the Isabella Stewart Gardner Museum of Boston, Massachusetts, having been owned by Isabella Stewart Gardner in her lifetime.

Category:Paintings in the Isabella Stewart Gardner Museum

Right-hand scene. While her husband is away, the virtuous Lucretia is raped by Sextus Tarquinius, the king's son. After summoning her husband and others she reveals all and stabs herself. Here she has just done so and is dead.


The Story of Lucretia (Botticelli)

Prompt: How does The Story of Lucretia (Botticelli) explain its abstract?

The Tragedy of Lucretia is a tempera and oil painting on a wood cassone or spalliera panel by the Italian Renaissance master Sandro Botticelli, painted between 1496 and 1504. Known less formally as the Botticelli Lucretia, it is housed in the Isabella Stewart Gardner Museum of Boston, Massachusetts, having been owned by Isabella Stewart Gardner in her lifetime.

Category:Paintings in the Isabella Stewart Gardner Museum

Right-hand scene. While her husband is away, the virtuous Lucretia is raped by Sextus Tarquinius, the king's son. After summoning her husband and others she reveals all and stabs herself. Here she has just done so and is dead.


The Story of Lucretia (Botticelli)

Prompt: In The Story of Lucretia (Botticelli), how is the abstract discussed?

The Tragedy of Lucretia is a tempera and oil painting on a wood cassone or spalliera panel by the Italian Renaissance master Sandro Botticelli, painted between 1496 and 1504. Known less formally as the Botticelli Lucretia, it is housed in the Isabella Stewart Gardner Museum of Boston, Massachusetts, having been owned by Isabella Stewart Gardner in her lifetime.

Category:Paintings in the Isabella Stewart Gardner Museum

Right-hand scene. While her husband is away, the virtuous Lucretia is raped by Sextus Tarquinius, the king's son. After summoning her husband and others she reveals all and stabs herself. Here she has just done so and is dead.


The Story of Lucretia (Botticelli)

Prompt: Focus on The Story of Lucretia (Botticelli) and explain the The picture of Lucretia's tragedy.

The picture is a syncretion of scenes from different legendary themes in different time periods that Botticelli considered related. The topic is revolt against tyranny, a popular one in the volatile Italian republics. The main scene is given center foreground. It is the beginning of the revolution that created the Roman republic. The legend is that Lucretia, a noblewoman, was raped by Sextus Tarquinius, the son of the last king of Rome. As a result, Lucius Junius Brutus took an oath to expel the Tarquinii from Rome and never to allow anyone else to reign. In the centre of the picture Lucretia's corpse is on public display as a heroine. Brutus stands over her exhorting the populace to revolt and recruiting a revolutionary army of young men. There is much sword-waving. The dagger with which Lucretia killed herself is in evidence protruding from her breast. The statue at the top of the column behind Brutus in the foreground is David and Goliath's head, which is not very suitable for vengeance, but does fit the political situation. David and Goliath were a symbol of revolt against tyranny in the Republic of Florence. Lucretia had called for vengeance, but Brutus had called for the ouster of monarchy, and the purpose of the assembly was to implement it.The legendary funeral oration takes place in the Forum Romanum, but Botticelli makes no effort to represent that well-known place. The setting is a small town, which can be seen trailing into the countryside in the background; some speculate it may have been Collatia, but that place was hardly the scene of a national revolution. None of the buildings are classical Roman and even the triumphal arch in the background commemorating the triumph of the republic is unlike any other. Hilliard T. Goldfarb, author of The Isabella Stewart Gardner Museum: A Companion Guide and History, instead suggests that it is a dramatic stage scene in which the players gesticulate theatrically, and also about Botticelli's intent to convey "a clear political message." One does not, however, hire one of the greatest artists of the time to adorn the inside of a wedding chest or the back of a chair, even in a mansion, with clear political messages; presumably, the panel was meant for public display of some sort. Botticelli ten years later was to die in obscure and unappreciated poverty; nevertheless, he was recognized even then as a great master.The scene on the right porch is the death of Lucretia. The frieze over the porch depicts Horatius Cocles, a warrior who defended Rome against the intervention of Lars Porsenna and the ousted last king of Rome, Lucius Tarquinius Superbus. The scene on the left porch is the threatening of Lucretia by Sextus to extort her compliance. He rips away her cloak, threatening to plunge his sword into her. The frieze over it depicts Judith and Holofernes, a tyrant decapitated by her after offers of seduction in the Old Testament.The use of architecture in this picture is parallel to that of Filippino Lippi, a pupil of Sandro's, the son of Sandro's teacher.

Category:Paintings in the Isabella Stewart Gardner Museum

Right-hand scene. While her husband is away, the virtuous Lucretia is raped by Sextus Tarquinius, the king's son. After summoning her husband and others she reveals all and stabs herself. Here she has just done so and is dead.


The Story of Lucretia (Botticelli)

Prompt: Explain the The picture of Lucretia's tragedy of this artwork, The Story of Lucretia (Botticelli).

The picture is a syncretion of scenes from different legendary themes in different time periods that Botticelli considered related. The topic is revolt against tyranny, a popular one in the volatile Italian republics. The main scene is given center foreground. It is the beginning of the revolution that created the Roman republic. The legend is that Lucretia, a noblewoman, was raped by Sextus Tarquinius, the son of the last king of Rome. As a result, Lucius Junius Brutus took an oath to expel the Tarquinii from Rome and never to allow anyone else to reign. In the centre of the picture Lucretia's corpse is on public display as a heroine. Brutus stands over her exhorting the populace to revolt and recruiting a revolutionary army of young men. There is much sword-waving. The dagger with which Lucretia killed herself is in evidence protruding from her breast. The statue at the top of the column behind Brutus in the foreground is David and Goliath's head, which is not very suitable for vengeance, but does fit the political situation. David and Goliath were a symbol of revolt against tyranny in the Republic of Florence. Lucretia had called for vengeance, but Brutus had called for the ouster of monarchy, and the purpose of the assembly was to implement it.The legendary funeral oration takes place in the Forum Romanum, but Botticelli makes no effort to represent that well-known place. The setting is a small town, which can be seen trailing into the countryside in the background; some speculate it may have been Collatia, but that place was hardly the scene of a national revolution. None of the buildings are classical Roman and even the triumphal arch in the background commemorating the triumph of the republic is unlike any other. Hilliard T. Goldfarb, author of The Isabella Stewart Gardner Museum: A Companion Guide and History, instead suggests that it is a dramatic stage scene in which the players gesticulate theatrically, and also about Botticelli's intent to convey "a clear political message." One does not, however, hire one of the greatest artists of the time to adorn the inside of a wedding chest or the back of a chair, even in a mansion, with clear political messages; presumably, the panel was meant for public display of some sort. Botticelli ten years later was to die in obscure and unappreciated poverty; nevertheless, he was recognized even then as a great master.The scene on the right porch is the death of Lucretia. The frieze over the porch depicts Horatius Cocles, a warrior who defended Rome against the intervention of Lars Porsenna and the ousted last king of Rome, Lucius Tarquinius Superbus. The scene on the left porch is the threatening of Lucretia by Sextus to extort her compliance. He rips away her cloak, threatening to plunge his sword into her. The frieze over it depicts Judith and Holofernes, a tyrant decapitated by her after offers of seduction in the Old Testament.The use of architecture in this picture is parallel to that of Filippino Lippi, a pupil of Sandro's, the son of Sandro's teacher.

Category:Paintings in the Isabella Stewart Gardner Museum

Right-hand scene. While her husband is away, the virtuous Lucretia is raped by Sextus Tarquinius, the king's son. After summoning her husband and others she reveals all and stabs herself. Here she has just done so and is dead.


The Story of Lucretia (Botticelli)

Prompt: How does The Story of Lucretia (Botticelli) explain its The picture of Lucretia's tragedy?

The picture is a syncretion of scenes from different legendary themes in different time periods that Botticelli considered related. The topic is revolt against tyranny, a popular one in the volatile Italian republics. The main scene is given center foreground. It is the beginning of the revolution that created the Roman republic. The legend is that Lucretia, a noblewoman, was raped by Sextus Tarquinius, the son of the last king of Rome. As a result, Lucius Junius Brutus took an oath to expel the Tarquinii from Rome and never to allow anyone else to reign. In the centre of the picture Lucretia's corpse is on public display as a heroine. Brutus stands over her exhorting the populace to revolt and recruiting a revolutionary army of young men. There is much sword-waving. The dagger with which Lucretia killed herself is in evidence protruding from her breast. The statue at the top of the column behind Brutus in the foreground is David and Goliath's head, which is not very suitable for vengeance, but does fit the political situation. David and Goliath were a symbol of revolt against tyranny in the Republic of Florence. Lucretia had called for vengeance, but Brutus had called for the ouster of monarchy, and the purpose of the assembly was to implement it.The legendary funeral oration takes place in the Forum Romanum, but Botticelli makes no effort to represent that well-known place. The setting is a small town, which can be seen trailing into the countryside in the background; some speculate it may have been Collatia, but that place was hardly the scene of a national revolution. None of the buildings are classical Roman and even the triumphal arch in the background commemorating the triumph of the republic is unlike any other. Hilliard T. Goldfarb, author of The Isabella Stewart Gardner Museum: A Companion Guide and History, instead suggests that it is a dramatic stage scene in which the players gesticulate theatrically, and also about Botticelli's intent to convey "a clear political message." One does not, however, hire one of the greatest artists of the time to adorn the inside of a wedding chest or the back of a chair, even in a mansion, with clear political messages; presumably, the panel was meant for public display of some sort. Botticelli ten years later was to die in obscure and unappreciated poverty; nevertheless, he was recognized even then as a great master.The scene on the right porch is the death of Lucretia. The frieze over the porch depicts Horatius Cocles, a warrior who defended Rome against the intervention of Lars Porsenna and the ousted last king of Rome, Lucius Tarquinius Superbus. The scene on the left porch is the threatening of Lucretia by Sextus to extort her compliance. He rips away her cloak, threatening to plunge his sword into her. The frieze over it depicts Judith and Holofernes, a tyrant decapitated by her after offers of seduction in the Old Testament.The use of architecture in this picture is parallel to that of Filippino Lippi, a pupil of Sandro's, the son of Sandro's teacher.

Category:Paintings in the Isabella Stewart Gardner Museum

Right-hand scene. While her husband is away, the virtuous Lucretia is raped by Sextus Tarquinius, the king's son. After summoning her husband and others she reveals all and stabs herself. Here she has just done so and is dead.


The Story of Lucretia (Botticelli)

Prompt: In The Story of Lucretia (Botticelli), how is the The picture of Lucretia's tragedy discussed?

The picture is a syncretion of scenes from different legendary themes in different time periods that Botticelli considered related. The topic is revolt against tyranny, a popular one in the volatile Italian republics. The main scene is given center foreground. It is the beginning of the revolution that created the Roman republic. The legend is that Lucretia, a noblewoman, was raped by Sextus Tarquinius, the son of the last king of Rome. As a result, Lucius Junius Brutus took an oath to expel the Tarquinii from Rome and never to allow anyone else to reign. In the centre of the picture Lucretia's corpse is on public display as a heroine. Brutus stands over her exhorting the populace to revolt and recruiting a revolutionary army of young men. There is much sword-waving. The dagger with which Lucretia killed herself is in evidence protruding from her breast. The statue at the top of the column behind Brutus in the foreground is David and Goliath's head, which is not very suitable for vengeance, but does fit the political situation. David and Goliath were a symbol of revolt against tyranny in the Republic of Florence. Lucretia had called for vengeance, but Brutus had called for the ouster of monarchy, and the purpose of the assembly was to implement it.The legendary funeral oration takes place in the Forum Romanum, but Botticelli makes no effort to represent that well-known place. The setting is a small town, which can be seen trailing into the countryside in the background; some speculate it may have been Collatia, but that place was hardly the scene of a national revolution. None of the buildings are classical Roman and even the triumphal arch in the background commemorating the triumph of the republic is unlike any other. Hilliard T. Goldfarb, author of The Isabella Stewart Gardner Museum: A Companion Guide and History, instead suggests that it is a dramatic stage scene in which the players gesticulate theatrically, and also about Botticelli's intent to convey "a clear political message." One does not, however, hire one of the greatest artists of the time to adorn the inside of a wedding chest or the back of a chair, even in a mansion, with clear political messages; presumably, the panel was meant for public display of some sort. Botticelli ten years later was to die in obscure and unappreciated poverty; nevertheless, he was recognized even then as a great master.The scene on the right porch is the death of Lucretia. The frieze over the porch depicts Horatius Cocles, a warrior who defended Rome against the intervention of Lars Porsenna and the ousted last king of Rome, Lucius Tarquinius Superbus. The scene on the left porch is the threatening of Lucretia by Sextus to extort her compliance. He rips away her cloak, threatening to plunge his sword into her. The frieze over it depicts Judith and Holofernes, a tyrant decapitated by her after offers of seduction in the Old Testament.The use of architecture in this picture is parallel to that of Filippino Lippi, a pupil of Sandro's, the son of Sandro's teacher.

Category:Paintings in the Isabella Stewart Gardner Museum

Right-hand scene. While her husband is away, the virtuous Lucretia is raped by Sextus Tarquinius, the king's son. After summoning her husband and others she reveals all and stabs herself. Here she has just done so and is dead.


Sleeping Cupid (Caravaggio)

Prompt: Focus on Sleeping Cupid (Caravaggio) and explain the abstract.

Sleeping Cupid is a painting by the Italian master Caravaggio.  Unlike many of Caravaggio's works, it can be dated accurately. It was commissioned for Fra Francesco dell'Antella, Florentine Secretary for Italy to Alof de Wignacourt, Grand Master of the Knights of Malta, and an old inscription on the back records that it was painted in Malta in 1608.The subject of a sleeping Cupid, bowstring broken and arrows cast aside, usually signifies the abandonment of worldly pleasures, and dell'Antella may have commissioned it as a reminder of his vow of chastity.

Category:Paintings in the Galleria Palatina

Category:Mythological paintings by Caravaggio


Sleeping Cupid (Caravaggio)

Prompt: Explain the abstract of this artwork, Sleeping Cupid (Caravaggio).

Sleeping Cupid is a painting by the Italian master Caravaggio.  Unlike many of Caravaggio's works, it can be dated accurately. It was commissioned for Fra Francesco dell'Antella, Florentine Secretary for Italy to Alof de Wignacourt, Grand Master of the Knights of Malta, and an old inscription on the back records that it was painted in Malta in 1608.The subject of a sleeping Cupid, bowstring broken and arrows cast aside, usually signifies the abandonment of worldly pleasures, and dell'Antella may have commissioned it as a reminder of his vow of chastity.

Category:Paintings in the Galleria Palatina

Category:Mythological paintings by Caravaggio


Sleeping Cupid (Caravaggio)

Prompt: How does Sleeping Cupid (Caravaggio) explain its abstract?

Sleeping Cupid is a painting by the Italian master Caravaggio.  Unlike many of Caravaggio's works, it can be dated accurately. It was commissioned for Fra Francesco dell'Antella, Florentine Secretary for Italy to Alof de Wignacourt, Grand Master of the Knights of Malta, and an old inscription on the back records that it was painted in Malta in 1608.The subject of a sleeping Cupid, bowstring broken and arrows cast aside, usually signifies the abandonment of worldly pleasures, and dell'Antella may have commissioned it as a reminder of his vow of chastity.

Category:Paintings in the Galleria Palatina

Category:Mythological paintings by Caravaggio


Sleeping Cupid (Caravaggio)

Prompt: In Sleeping Cupid (Caravaggio), how is the abstract discussed?

Sleeping Cupid is a painting by the Italian master Caravaggio.  Unlike many of Caravaggio's works, it can be dated accurately. It was commissioned for Fra Francesco dell'Antella, Florentine Secretary for Italy to Alof de Wignacourt, Grand Master of the Knights of Malta, and an old inscription on the back records that it was painted in Malta in 1608.The subject of a sleeping Cupid, bowstring broken and arrows cast aside, usually signifies the abandonment of worldly pleasures, and dell'Antella may have commissioned it as a reminder of his vow of chastity.

Category:Paintings in the Galleria Palatina

Category:Mythological paintings by Caravaggio


Venus with Mercury and Cupid

Prompt: Focus on Venus with Mercury and Cupid and explain the abstract.

Venus with Mercury and Cupid, The School of Love or The Education of Cupid is a c. 1525 painting by the Italian painter Correggio, now in the National Gallery. It depicts the deities Cupid, Mercury, and Venus.

List of artworks in the Gonzaga collection

María Cayetana de Silva, 13th Duchess of Alba

Category:Paintings of Mercury (mythology)

Francisco Álvarez de Toledo, 10th Duke of Alba

Category:Paintings in the National Gallery, London

Gaspar Méndez de Haro, 7th Marquis of Carpio

Carlos Miguel Fitz-James Stuart, 14th Duke of Alba

Category:Mythological paintings by Correggio

Charles Vane, 3rd Marquess of Londonderry


Venus with Mercury and Cupid

Prompt: Explain the abstract of this artwork, Venus with Mercury and Cupid.

Venus with Mercury and Cupid, The School of Love or The Education of Cupid is a c. 1525 painting by the Italian painter Correggio, now in the National Gallery. It depicts the deities Cupid, Mercury, and Venus.

List of artworks in the Gonzaga collection

María Cayetana de Silva, 13th Duchess of Alba

Category:Paintings of Mercury (mythology)

Francisco Álvarez de Toledo, 10th Duke of Alba

Category:Paintings in the National Gallery, London

Gaspar Méndez de Haro, 7th Marquis of Carpio

Carlos Miguel Fitz-James Stuart, 14th Duke of Alba

Category:Mythological paintings by Correggio

Charles Vane, 3rd Marquess of Londonderry


Venus with Mercury and Cupid

Prompt: How does Venus with Mercury and Cupid explain its abstract?

Venus with Mercury and Cupid, The School of Love or The Education of Cupid is a c. 1525 painting by the Italian painter Correggio, now in the National Gallery. It depicts the deities Cupid, Mercury, and Venus.

List of artworks in the Gonzaga collection

María Cayetana de Silva, 13th Duchess of Alba

Category:Paintings of Mercury (mythology)

Francisco Álvarez de Toledo, 10th Duke of Alba

Category:Paintings in the National Gallery, London

Gaspar Méndez de Haro, 7th Marquis of Carpio

Carlos Miguel Fitz-James Stuart, 14th Duke of Alba

Category:Mythological paintings by Correggio

Charles Vane, 3rd Marquess of Londonderry


Venus with Mercury and Cupid

Prompt: In Venus with Mercury and Cupid, how is the abstract discussed?

Venus with Mercury and Cupid, The School of Love or The Education of Cupid is a c. 1525 painting by the Italian painter Correggio, now in the National Gallery. It depicts the deities Cupid, Mercury, and Venus.

List of artworks in the Gonzaga collection

María Cayetana de Silva, 13th Duchess of Alba

Category:Paintings of Mercury (mythology)

Francisco Álvarez de Toledo, 10th Duke of Alba

Category:Paintings in the National Gallery, London

Gaspar Méndez de Haro, 7th Marquis of Carpio

Carlos Miguel Fitz-James Stuart, 14th Duke of Alba

Category:Mythological paintings by Correggio

Charles Vane, 3rd Marquess of Londonderry


Venus with Mercury and Cupid

Prompt: Focus on Venus with Mercury and Cupid and explain the History.

A preparatory sketch for it survives in the British Museum. Venus and Cupid with a Satyr (now in the Louvre) seems to be its pendant - that painting is larger but Venus with Mercury and Cupid may have been cut down later. They were probably commissioned by Nicola Maffei (c.1487-1536) and the early fame of Venus with Mercury and Cupid is attested by a copy made by Girolamo Mazzola Bedoli. However, the first written reference to the two paintings is in 1627, by which time they were in the Gonzaga collection in Mantua (the Maffeis were closely linked to the Gonzagas). Between 1627 and 1628 both paintings were acquired from the Gonzagas by Charles I and it is attested as being in Whitehall Palace in 1639.His collection also contained copies of the painting and its pendant by Peter Oliver, known as Venerie Coeleste (Sacred Love) and Venerie Mundano (Profane Love) respectively. At the sale of Charles' goods it was valued at £800 and sold on 23 October 1651 to Thomas Bagley, a glazier in the royal household. It was bought in 1653 by the Spanish ambassador Alonso de Cárdenas for 1600 escudos (£400). He was acting as the agent for Luis de Haro, who had planned to present it to Philip IV of Spain. However, when the painting arrived in Madrid Velazquez challenged its attribution to Correggio and Luis decided to keep it for himself. It was inherited by Luis' son Gaspar de Haro, then by Gaspar's daughter Catalina, wife of Francisco Álvarez de Toledo, 10th Duke of Alba, whose family retained it until 1802. That year the Duchy of Alba was inherited from the Duchess of Alba by the 7th Duke of Berwick and Liria - her relations entered litigation against him, in the course of which Charles IV of Spain ordered that the painting be sold to Manuel de Godoy. De Godoy was arrested six years later, and the painting was confiscated along with the rest of his goods by Joachim Murat, who took it to Naples. After Murat's defeat and execution during the Hundred Days in 1815, his widow Caroline fled to Vienna, taking the painting with her. Later that year she sold it to the future 3rd Marquess of Londonderry. In 1834 Londonderry sold it to  the National Gallery in London, where it now hangs.

List of artworks in the Gonzaga collection

María Cayetana de Silva, 13th Duchess of Alba

Category:Paintings of Mercury (mythology)

Category:Paintings in the National Gallery, London

Gaspar Méndez de Haro, 7th Marquis of Carpio

Carlos Miguel Fitz-James Stuart, 14th Duke of Alba

Category:Mythological paintings by Correggio

Charles Vane, 3rd Marquess of Londonderry


Venus with Mercury and Cupid

Prompt: Explain the History of this artwork, Venus with Mercury and Cupid.

A preparatory sketch for it survives in the British Museum. Venus and Cupid with a Satyr (now in the Louvre) seems to be its pendant - that painting is larger but Venus with Mercury and Cupid may have been cut down later. They were probably commissioned by Nicola Maffei (c.1487-1536) and the early fame of Venus with Mercury and Cupid is attested by a copy made by Girolamo Mazzola Bedoli. However, the first written reference to the two paintings is in 1627, by which time they were in the Gonzaga collection in Mantua (the Maffeis were closely linked to the Gonzagas). Between 1627 and 1628 both paintings were acquired from the Gonzagas by Charles I and it is attested as being in Whitehall Palace in 1639.His collection also contained copies of the painting and its pendant by Peter Oliver, known as Venerie Coeleste (Sacred Love) and Venerie Mundano (Profane Love) respectively. At the sale of Charles' goods it was valued at £800 and sold on 23 October 1651 to Thomas Bagley, a glazier in the royal household. It was bought in 1653 by the Spanish ambassador Alonso de Cárdenas for 1600 escudos (£400). He was acting as the agent for Luis de Haro, who had planned to present it to Philip IV of Spain. However, when the painting arrived in Madrid Velazquez challenged its attribution to Correggio and Luis decided to keep it for himself. It was inherited by Luis' son Gaspar de Haro, then by Gaspar's daughter Catalina, wife of Francisco Álvarez de Toledo, 10th Duke of Alba, whose family retained it until 1802. That year the Duchy of Alba was inherited from the Duchess of Alba by the 7th Duke of Berwick and Liria - her relations entered litigation against him, in the course of which Charles IV of Spain ordered that the painting be sold to Manuel de Godoy. De Godoy was arrested six years later, and the painting was confiscated along with the rest of his goods by Joachim Murat, who took it to Naples. After Murat's defeat and execution during the Hundred Days in 1815, his widow Caroline fled to Vienna, taking the painting with her. Later that year she sold it to the future 3rd Marquess of Londonderry. In 1834 Londonderry sold it to  the National Gallery in London, where it now hangs.

List of artworks in the Gonzaga collection

María Cayetana de Silva, 13th Duchess of Alba

Category:Paintings of Mercury (mythology)

Category:Paintings in the National Gallery, London

Gaspar Méndez de Haro, 7th Marquis of Carpio

Carlos Miguel Fitz-James Stuart, 14th Duke of Alba

Category:Mythological paintings by Correggio

Charles Vane, 3rd Marquess of Londonderry


Venus with Mercury and Cupid

Prompt: How does Venus with Mercury and Cupid explain its History?

A preparatory sketch for it survives in the British Museum. Venus and Cupid with a Satyr (now in the Louvre) seems to be its pendant - that painting is larger but Venus with Mercury and Cupid may have been cut down later. They were probably commissioned by Nicola Maffei (c.1487-1536) and the early fame of Venus with Mercury and Cupid is attested by a copy made by Girolamo Mazzola Bedoli. However, the first written reference to the two paintings is in 1627, by which time they were in the Gonzaga collection in Mantua (the Maffeis were closely linked to the Gonzagas). Between 1627 and 1628 both paintings were acquired from the Gonzagas by Charles I and it is attested as being in Whitehall Palace in 1639.His collection also contained copies of the painting and its pendant by Peter Oliver, known as Venerie Coeleste (Sacred Love) and Venerie Mundano (Profane Love) respectively. At the sale of Charles' goods it was valued at £800 and sold on 23 October 1651 to Thomas Bagley, a glazier in the royal household. It was bought in 1653 by the Spanish ambassador Alonso de Cárdenas for 1600 escudos (£400). He was acting as the agent for Luis de Haro, who had planned to present it to Philip IV of Spain. However, when the painting arrived in Madrid Velazquez challenged its attribution to Correggio and Luis decided to keep it for himself. It was inherited by Luis' son Gaspar de Haro, then by Gaspar's daughter Catalina, wife of Francisco Álvarez de Toledo, 10th Duke of Alba, whose family retained it until 1802. That year the Duchy of Alba was inherited from the Duchess of Alba by the 7th Duke of Berwick and Liria - her relations entered litigation against him, in the course of which Charles IV of Spain ordered that the painting be sold to Manuel de Godoy. De Godoy was arrested six years later, and the painting was confiscated along with the rest of his goods by Joachim Murat, who took it to Naples. After Murat's defeat and execution during the Hundred Days in 1815, his widow Caroline fled to Vienna, taking the painting with her. Later that year she sold it to the future 3rd Marquess of Londonderry. In 1834 Londonderry sold it to  the National Gallery in London, where it now hangs.

List of artworks in the Gonzaga collection

María Cayetana de Silva, 13th Duchess of Alba

Category:Paintings of Mercury (mythology)

Category:Paintings in the National Gallery, London

Gaspar Méndez de Haro, 7th Marquis of Carpio

Carlos Miguel Fitz-James Stuart, 14th Duke of Alba

Category:Mythological paintings by Correggio

Charles Vane, 3rd Marquess of Londonderry


Venus with Mercury and Cupid

Prompt: In Venus with Mercury and Cupid, how is the History discussed?

A preparatory sketch for it survives in the British Museum. Venus and Cupid with a Satyr (now in the Louvre) seems to be its pendant - that painting is larger but Venus with Mercury and Cupid may have been cut down later. They were probably commissioned by Nicola Maffei (c.1487-1536) and the early fame of Venus with Mercury and Cupid is attested by a copy made by Girolamo Mazzola Bedoli. However, the first written reference to the two paintings is in 1627, by which time they were in the Gonzaga collection in Mantua (the Maffeis were closely linked to the Gonzagas). Between 1627 and 1628 both paintings were acquired from the Gonzagas by Charles I and it is attested as being in Whitehall Palace in 1639.His collection also contained copies of the painting and its pendant by Peter Oliver, known as Venerie Coeleste (Sacred Love) and Venerie Mundano (Profane Love) respectively. At the sale of Charles' goods it was valued at £800 and sold on 23 October 1651 to Thomas Bagley, a glazier in the royal household. It was bought in 1653 by the Spanish ambassador Alonso de Cárdenas for 1600 escudos (£400). He was acting as the agent for Luis de Haro, who had planned to present it to Philip IV of Spain. However, when the painting arrived in Madrid Velazquez challenged its attribution to Correggio and Luis decided to keep it for himself. It was inherited by Luis' son Gaspar de Haro, then by Gaspar's daughter Catalina, wife of Francisco Álvarez de Toledo, 10th Duke of Alba, whose family retained it until 1802. That year the Duchy of Alba was inherited from the Duchess of Alba by the 7th Duke of Berwick and Liria - her relations entered litigation against him, in the course of which Charles IV of Spain ordered that the painting be sold to Manuel de Godoy. De Godoy was arrested six years later, and the painting was confiscated along with the rest of his goods by Joachim Murat, who took it to Naples. After Murat's defeat and execution during the Hundred Days in 1815, his widow Caroline fled to Vienna, taking the painting with her. Later that year she sold it to the future 3rd Marquess of Londonderry. In 1834 Londonderry sold it to  the National Gallery in London, where it now hangs.

List of artworks in the Gonzaga collection

María Cayetana de Silva, 13th Duchess of Alba

Category:Paintings of Mercury (mythology)

Category:Paintings in the National Gallery, London

Gaspar Méndez de Haro, 7th Marquis of Carpio

Carlos Miguel Fitz-James Stuart, 14th Duke of Alba

Category:Mythological paintings by Correggio

Charles Vane, 3rd Marquess of Londonderry


Venus with Mercury and Cupid

Prompt: Focus on Venus with Mercury and Cupid and explain the Other versions.

At least four early copies of the painting are known:former property of Baron Massias in Paris,Ham House, near London, has a copy no doubt made when the painting was in London, now National Trust.),former property of Baron Brukenthal in Hermannstadt (now in the Brukenthal National Museum),former property of Marguerite Pelouze in the Château de Chenonceau.At least two versions, those at Sibiu and Chenonceau, are still exhibited as authentic works by Correggio.

List of artworks in the Gonzaga collection

María Cayetana de Silva, 13th Duchess of Alba

Category:Paintings of Mercury (mythology)

Francisco Álvarez de Toledo, 10th Duke of Alba

Category:Paintings in the National Gallery, London

Gaspar Méndez de Haro, 7th Marquis of Carpio

Carlos Miguel Fitz-James Stuart, 14th Duke of Alba

Category:Mythological paintings by Correggio

Charles Vane, 3rd Marquess of Londonderry


Venus with Mercury and Cupid

Prompt: Explain the Other versions of this artwork, Venus with Mercury and Cupid.

At least four early copies of the painting are known:former property of Baron Massias in Paris,Ham House, near London, has a copy no doubt made when the painting was in London, now National Trust.),former property of Baron Brukenthal in Hermannstadt (now in the Brukenthal National Museum),former property of Marguerite Pelouze in the Château de Chenonceau.At least two versions, those at Sibiu and Chenonceau, are still exhibited as authentic works by Correggio.

List of artworks in the Gonzaga collection

María Cayetana de Silva, 13th Duchess of Alba

Category:Paintings of Mercury (mythology)

Francisco Álvarez de Toledo, 10th Duke of Alba

Category:Paintings in the National Gallery, London

Gaspar Méndez de Haro, 7th Marquis of Carpio

Carlos Miguel Fitz-James Stuart, 14th Duke of Alba

Category:Mythological paintings by Correggio

Charles Vane, 3rd Marquess of Londonderry


Venus with Mercury and Cupid

Prompt: How does Venus with Mercury and Cupid explain its Other versions?

At least four early copies of the painting are known:former property of Baron Massias in Paris,Ham House, near London, has a copy no doubt made when the painting was in London, now National Trust.),former property of Baron Brukenthal in Hermannstadt (now in the Brukenthal National Museum),former property of Marguerite Pelouze in the Château de Chenonceau.At least two versions, those at Sibiu and Chenonceau, are still exhibited as authentic works by Correggio.

List of artworks in the Gonzaga collection

María Cayetana de Silva, 13th Duchess of Alba

Category:Paintings of Mercury (mythology)

Francisco Álvarez de Toledo, 10th Duke of Alba

Category:Paintings in the National Gallery, London

Gaspar Méndez de Haro, 7th Marquis of Carpio

Carlos Miguel Fitz-James Stuart, 14th Duke of Alba

Category:Mythological paintings by Correggio

Charles Vane, 3rd Marquess of Londonderry


Venus with Mercury and Cupid

Prompt: In Venus with Mercury and Cupid, how is the Other versions discussed?

At least four early copies of the painting are known:former property of Baron Massias in Paris,Ham House, near London, has a copy no doubt made when the painting was in London, now National Trust.),former property of Baron Brukenthal in Hermannstadt (now in the Brukenthal National Museum),former property of Marguerite Pelouze in the Château de Chenonceau.At least two versions, those at Sibiu and Chenonceau, are still exhibited as authentic works by Correggio.

List of artworks in the Gonzaga collection

María Cayetana de Silva, 13th Duchess of Alba

Category:Paintings of Mercury (mythology)

Francisco Álvarez de Toledo, 10th Duke of Alba

Category:Paintings in the National Gallery, London

Gaspar Méndez de Haro, 7th Marquis of Carpio

Carlos Miguel Fitz-James Stuart, 14th Duke of Alba

Category:Mythological paintings by Correggio

Charles Vane, 3rd Marquess of Londonderry


Punishment of the Sons of Korah

Prompt: Focus on Punishment of the Sons of Korah and explain the abstract.

The Punishment of the Sons of Korah[1] or Punishment of the Rebels is a fresco by the Italian Renaissance painter Sandro Botticelli, executed in 1480–1482 in the Sistine Chapel, Rome.

The (restored) Arch of Constantine, [[Campus Martius

File:Arch of Constantine Rome - panoramio.jpg

Korah#Korah, son of Izhar, leader of a rebellion against Moses

alt=Landscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.


Punishment of the Sons of Korah

Prompt: Explain the abstract of this artwork, Punishment of the Sons of Korah.

The Punishment of the Sons of Korah[1] or Punishment of the Rebels is a fresco by the Italian Renaissance painter Sandro Botticelli, executed in 1480–1482 in the Sistine Chapel, Rome.

The (restored) Arch of Constantine, [[Campus Martius

File:Arch of Constantine Rome - panoramio.jpg

Korah#Korah, son of Izhar, leader of a rebellion against Moses

alt=Landscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.


Punishment of the Sons of Korah

Prompt: How does Punishment of the Sons of Korah explain its abstract?

The Punishment of the Sons of Korah[1] or Punishment of the Rebels is a fresco by the Italian Renaissance painter Sandro Botticelli, executed in 1480–1482 in the Sistine Chapel, Rome.

The (restored) Arch of Constantine, [[Campus Martius

File:Arch of Constantine Rome - panoramio.jpg

Korah#Korah, son of Izhar, leader of a rebellion against Moses

alt=Landscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.


Punishment of the Sons of Korah

Prompt: In Punishment of the Sons of Korah, how is the abstract discussed?

The Punishment of the Sons of Korah[1] or Punishment of the Rebels is a fresco by the Italian Renaissance painter Sandro Botticelli, executed in 1480–1482 in the Sistine Chapel, Rome.

The (restored) Arch of Constantine, [[Campus Martius

File:Arch of Constantine Rome - panoramio.jpg

Korah#Korah, son of Izhar, leader of a rebellion against Moses

alt=Landscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.


Punishment of the Sons of Korah

Prompt: Focus on Punishment of the Sons of Korah and explain the History.

On 27 October 1480 Botticelli, together with other Florentine painters, left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as spring 1481, along with Pietro Perugino, who was already there.The theme of the decoration was a parallel between the lives of Moses and Christ, as a sign of continuity between the Old and the New Testament. A continuity also between Mosaic Law and the message of Jesus, who in turn chose Peter (the first bishop of Rome) as his successor;  the latter's successors were the popes of Rome.Botticelli painted three scenes, helped by numerous assistants. On 17 February 1482 his contract was renewed, including the other scenes to complete the chapel's decoration. However, on the 20th of the same month, his father died: he returned to Florence, where he remained.

The (restored) Arch of Constantine, [[Campus Martius

File:Arch of Constantine Rome - panoramio.jpg

Korah#Korah, son of Izhar, leader of a rebellion against Moses

alt=Landscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.


Punishment of the Sons of Korah

Prompt: Explain the History of this artwork, Punishment of the Sons of Korah.

On 27 October 1480 Botticelli, together with other Florentine painters, left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as spring 1481, along with Pietro Perugino, who was already there.The theme of the decoration was a parallel between the lives of Moses and Christ, as a sign of continuity between the Old and the New Testament. A continuity also between Mosaic Law and the message of Jesus, who in turn chose Peter (the first bishop of Rome) as his successor;  the latter's successors were the popes of Rome.Botticelli painted three scenes, helped by numerous assistants. On 17 February 1482 his contract was renewed, including the other scenes to complete the chapel's decoration. However, on the 20th of the same month, his father died: he returned to Florence, where he remained.

The (restored) Arch of Constantine, [[Campus Martius

File:Arch of Constantine Rome - panoramio.jpg

Korah#Korah, son of Izhar, leader of a rebellion against Moses

alt=Landscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.


Punishment of the Sons of Korah

Prompt: How does Punishment of the Sons of Korah explain its History?

On 27 October 1480 Botticelli, together with other Florentine painters, left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as spring 1481, along with Pietro Perugino, who was already there.The theme of the decoration was a parallel between the lives of Moses and Christ, as a sign of continuity between the Old and the New Testament. A continuity also between Mosaic Law and the message of Jesus, who in turn chose Peter (the first bishop of Rome) as his successor;  the latter's successors were the popes of Rome.Botticelli painted three scenes, helped by numerous assistants. On 17 February 1482 his contract was renewed, including the other scenes to complete the chapel's decoration. However, on the 20th of the same month, his father died: he returned to Florence, where he remained.

The (restored) Arch of Constantine, [[Campus Martius

File:Arch of Constantine Rome - panoramio.jpg

Korah#Korah, son of Izhar, leader of a rebellion against Moses

alt=Landscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.


Punishment of the Sons of Korah

Prompt: In Punishment of the Sons of Korah, how is the History discussed?

On 27 October 1480 Botticelli, together with other Florentine painters, left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as spring 1481, along with Pietro Perugino, who was already there.The theme of the decoration was a parallel between the lives of Moses and Christ, as a sign of continuity between the Old and the New Testament. A continuity also between Mosaic Law and the message of Jesus, who in turn chose Peter (the first bishop of Rome) as his successor;  the latter's successors were the popes of Rome.Botticelli painted three scenes, helped by numerous assistants. On 17 February 1482 his contract was renewed, including the other scenes to complete the chapel's decoration. However, on the 20th of the same month, his father died: he returned to Florence, where he remained.

The (restored) Arch of Constantine, [[Campus Martius

File:Arch of Constantine Rome - panoramio.jpg

Korah#Korah, son of Izhar, leader of a rebellion against Moses

alt=Landscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.


Punishment of the Sons of Korah

Prompt: Focus on Punishment of the Sons of Korah and explain the Description.

The painting depicts three episodes and tells of a rebellion by the Israelites against Moses and Aaron. On the right the rebels attempt to stone Moses after becoming disenchanted by their trials on their emigration from Egypt. Joshua has placed himself between the rebels and Moses, protecting him from the stoning. The center scene shows the rebellion with Korah and the conspirators being driven out by Moses and Aaron, as high priest wearing the papal tiara. Moses is presented with rays of light. To the left, the ground opens and the two principal conspirators sink into it. The children of Korah are spared the fate of their father.The painting is framed by golden faux-architecture with an inscribed titulus above. The texts attached to the paintings of the Sistine Chapel inform the educated congregants in the papal chapel of the subject matter of the paintings; the tituli work to reveal both the identity of the figures, the content of the scenes with the Biblical narratives, and their exegesis. In the background of the painting is a Roman triumphal arch modelled closely on the Arch of Constantine, from the late antique period, which also included elements of earlier imperial monuments. The real Arch of Constantine's inscription is replaced by a cautionary inscription paraphrased from the Vulgate translation of Hebrews 5:4: nemo♦sibi♦assummat♦honorem♦nisivocatus♦adeotanquam♦aaron(And no man taketh this honour [the priesthood] unto himself, but he that is called of God, as was Aaron. – kjv) The intended message of the painting is clear, no one should doubt the authority of the Pope over the Church. The power of the papacy was constantly being questioned at the time.

The (restored) Arch of Constantine, [[Campus Martius

File:Arch of Constantine Rome - panoramio.jpg

Korah#Korah, son of Izhar, leader of a rebellion against Moses

alt=Landscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.


Punishment of the Sons of Korah

Prompt: Explain the Description of this artwork, Punishment of the Sons of Korah.

The painting depicts three episodes and tells of a rebellion by the Israelites against Moses and Aaron. On the right the rebels attempt to stone Moses after becoming disenchanted by their trials on their emigration from Egypt. Joshua has placed himself between the rebels and Moses, protecting him from the stoning. The center scene shows the rebellion with Korah and the conspirators being driven out by Moses and Aaron, as high priest wearing the papal tiara. Moses is presented with rays of light. To the left, the ground opens and the two principal conspirators sink into it. The children of Korah are spared the fate of their father.The painting is framed by golden faux-architecture with an inscribed titulus above. The texts attached to the paintings of the Sistine Chapel inform the educated congregants in the papal chapel of the subject matter of the paintings; the tituli work to reveal both the identity of the figures, the content of the scenes with the Biblical narratives, and their exegesis. In the background of the painting is a Roman triumphal arch modelled closely on the Arch of Constantine, from the late antique period, which also included elements of earlier imperial monuments. The real Arch of Constantine's inscription is replaced by a cautionary inscription paraphrased from the Vulgate translation of Hebrews 5:4: nemo♦sibi♦assummat♦honorem♦nisivocatus♦adeotanquam♦aaron(And no man taketh this honour [the priesthood] unto himself, but he that is called of God, as was Aaron. – kjv) The intended message of the painting is clear, no one should doubt the authority of the Pope over the Church. The power of the papacy was constantly being questioned at the time.

The (restored) Arch of Constantine, [[Campus Martius

File:Arch of Constantine Rome - panoramio.jpg

Korah#Korah, son of Izhar, leader of a rebellion against Moses

alt=Landscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.


Punishment of the Sons of Korah

Prompt: How does Punishment of the Sons of Korah explain its Description?

The painting depicts three episodes and tells of a rebellion by the Israelites against Moses and Aaron. On the right the rebels attempt to stone Moses after becoming disenchanted by their trials on their emigration from Egypt. Joshua has placed himself between the rebels and Moses, protecting him from the stoning. The center scene shows the rebellion with Korah and the conspirators being driven out by Moses and Aaron, as high priest wearing the papal tiara. Moses is presented with rays of light. To the left, the ground opens and the two principal conspirators sink into it. The children of Korah are spared the fate of their father.The painting is framed by golden faux-architecture with an inscribed titulus above. The texts attached to the paintings of the Sistine Chapel inform the educated congregants in the papal chapel of the subject matter of the paintings; the tituli work to reveal both the identity of the figures, the content of the scenes with the Biblical narratives, and their exegesis. In the background of the painting is a Roman triumphal arch modelled closely on the Arch of Constantine, from the late antique period, which also included elements of earlier imperial monuments. The real Arch of Constantine's inscription is replaced by a cautionary inscription paraphrased from the Vulgate translation of Hebrews 5:4: nemo♦sibi♦assummat♦honorem♦nisivocatus♦adeotanquam♦aaron(And no man taketh this honour [the priesthood] unto himself, but he that is called of God, as was Aaron. – kjv) The intended message of the painting is clear, no one should doubt the authority of the Pope over the Church. The power of the papacy was constantly being questioned at the time.

The (restored) Arch of Constantine, [[Campus Martius

File:Arch of Constantine Rome - panoramio.jpg

Korah#Korah, son of Izhar, leader of a rebellion against Moses

alt=Landscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.


Punishment of the Sons of Korah

Prompt: In Punishment of the Sons of Korah, how is the Description discussed?

The painting depicts three episodes and tells of a rebellion by the Israelites against Moses and Aaron. On the right the rebels attempt to stone Moses after becoming disenchanted by their trials on their emigration from Egypt. Joshua has placed himself between the rebels and Moses, protecting him from the stoning. The center scene shows the rebellion with Korah and the conspirators being driven out by Moses and Aaron, as high priest wearing the papal tiara. Moses is presented with rays of light. To the left, the ground opens and the two principal conspirators sink into it. The children of Korah are spared the fate of their father.The painting is framed by golden faux-architecture with an inscribed titulus above. The texts attached to the paintings of the Sistine Chapel inform the educated congregants in the papal chapel of the subject matter of the paintings; the tituli work to reveal both the identity of the figures, the content of the scenes with the Biblical narratives, and their exegesis. In the background of the painting is a Roman triumphal arch modelled closely on the Arch of Constantine, from the late antique period, which also included elements of earlier imperial monuments. The real Arch of Constantine's inscription is replaced by a cautionary inscription paraphrased from the Vulgate translation of Hebrews 5:4: nemo♦sibi♦assummat♦honorem♦nisivocatus♦adeotanquam♦aaron(And no man taketh this honour [the priesthood] unto himself, but he that is called of God, as was Aaron. – kjv) The intended message of the painting is clear, no one should doubt the authority of the Pope over the Church. The power of the papacy was constantly being questioned at the time.

The (restored) Arch of Constantine, [[Campus Martius

File:Arch of Constantine Rome - panoramio.jpg

Korah#Korah, son of Izhar, leader of a rebellion against Moses

alt=Landscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.


Dolbadarn Castle (Turner)

Prompt: Focus on Dolbadarn Castle (Turner) and explain the abstract.

Dolbadarn Castle is an oil painting by  J. M. W. Turner (1775–1851) depicting Dolbadarn Castle, created in 1798–1799. It is part of a body of work completed by Turner during a tour of the region, which included Dolbadarn, Llanberis and other parts of Snowdonia. Many supporting studies can be found in a sketch book now held by Tate Britain (Record: TB XLVI). When Turner returned to his London studio he developed these sketches into a number of more accomplished paintings of North Wales, including this one, which is now kept at the National Library of Wales.This painting is particularly notable as it is one of two that Turner submitted as Diploma works to the Royal Academy in 1800.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: Explain the abstract of this artwork, Dolbadarn Castle (Turner).

Dolbadarn Castle is an oil painting by  J. M. W. Turner (1775–1851) depicting Dolbadarn Castle, created in 1798–1799. It is part of a body of work completed by Turner during a tour of the region, which included Dolbadarn, Llanberis and other parts of Snowdonia. Many supporting studies can be found in a sketch book now held by Tate Britain (Record: TB XLVI). When Turner returned to his London studio he developed these sketches into a number of more accomplished paintings of North Wales, including this one, which is now kept at the National Library of Wales.This painting is particularly notable as it is one of two that Turner submitted as Diploma works to the Royal Academy in 1800.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: How does Dolbadarn Castle (Turner) explain its abstract?

Dolbadarn Castle is an oil painting by  J. M. W. Turner (1775–1851) depicting Dolbadarn Castle, created in 1798–1799. It is part of a body of work completed by Turner during a tour of the region, which included Dolbadarn, Llanberis and other parts of Snowdonia. Many supporting studies can be found in a sketch book now held by Tate Britain (Record: TB XLVI). When Turner returned to his London studio he developed these sketches into a number of more accomplished paintings of North Wales, including this one, which is now kept at the National Library of Wales.This painting is particularly notable as it is one of two that Turner submitted as Diploma works to the Royal Academy in 1800.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: In Dolbadarn Castle (Turner), how is the abstract discussed?

Dolbadarn Castle is an oil painting by  J. M. W. Turner (1775–1851) depicting Dolbadarn Castle, created in 1798–1799. It is part of a body of work completed by Turner during a tour of the region, which included Dolbadarn, Llanberis and other parts of Snowdonia. Many supporting studies can be found in a sketch book now held by Tate Britain (Record: TB XLVI). When Turner returned to his London studio he developed these sketches into a number of more accomplished paintings of North Wales, including this one, which is now kept at the National Library of Wales.This painting is particularly notable as it is one of two that Turner submitted as Diploma works to the Royal Academy in 1800.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: Focus on Dolbadarn Castle (Turner) and explain the Historical event.

The painting is an artist's impression of a 13th-century event of some importance in Welsh history. It depicts Owain Goch, the brother of Prince Llywelyn ap Gruffudd (LLywelyn the Second), being taken by soldiers to prison at Dolbadarn Castle. Owain was imprisoned at the Castle between 1255 and 1277, when he was released. The imprisonment of Owain, dressed in red in the painting, left his brother Llywelyn free to concentrate on uniting Wales against the English.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: Explain the Historical event of this artwork, Dolbadarn Castle (Turner).

The painting is an artist's impression of a 13th-century event of some importance in Welsh history. It depicts Owain Goch, the brother of Prince Llywelyn ap Gruffudd (LLywelyn the Second), being taken by soldiers to prison at Dolbadarn Castle. Owain was imprisoned at the Castle between 1255 and 1277, when he was released. The imprisonment of Owain, dressed in red in the painting, left his brother Llywelyn free to concentrate on uniting Wales against the English.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: How does Dolbadarn Castle (Turner) explain its Historical event?

The painting is an artist's impression of a 13th-century event of some importance in Welsh history. It depicts Owain Goch, the brother of Prince Llywelyn ap Gruffudd (LLywelyn the Second), being taken by soldiers to prison at Dolbadarn Castle. Owain was imprisoned at the Castle between 1255 and 1277, when he was released. The imprisonment of Owain, dressed in red in the painting, left his brother Llywelyn free to concentrate on uniting Wales against the English.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: In Dolbadarn Castle (Turner), how is the Historical event discussed?

The painting is an artist's impression of a 13th-century event of some importance in Welsh history. It depicts Owain Goch, the brother of Prince Llywelyn ap Gruffudd (LLywelyn the Second), being taken by soldiers to prison at Dolbadarn Castle. Owain was imprisoned at the Castle between 1255 and 1277, when he was released. The imprisonment of Owain, dressed in red in the painting, left his brother Llywelyn free to concentrate on uniting Wales against the English.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: Focus on Dolbadarn Castle (Turner) and explain the Travel  through Wales.

Turner first visited Wales in 1792, when he traveled through the south of the country. On his second visit in 1794, he visited Flintshire and Denbighshire. In 1798 he paid a much longer visit to Wales, travelling through Dyffryn Wysg, Ceredigion, Aberystwyth, Gwynedd and Llangollen.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: Explain the Travel  through Wales of this artwork, Dolbadarn Castle (Turner).

Turner first visited Wales in 1792, when he traveled through the south of the country. On his second visit in 1794, he visited Flintshire and Denbighshire. In 1798 he paid a much longer visit to Wales, travelling through Dyffryn Wysg, Ceredigion, Aberystwyth, Gwynedd and Llangollen.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: How does Dolbadarn Castle (Turner) explain its Travel  through Wales?

Turner first visited Wales in 1792, when he traveled through the south of the country. On his second visit in 1794, he visited Flintshire and Denbighshire. In 1798 he paid a much longer visit to Wales, travelling through Dyffryn Wysg, Ceredigion, Aberystwyth, Gwynedd and Llangollen.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: In Dolbadarn Castle (Turner), how is the Travel  through Wales discussed?

Turner first visited Wales in 1792, when he traveled through the south of the country. On his second visit in 1794, he visited Flintshire and Denbighshire. In 1798 he paid a much longer visit to Wales, travelling through Dyffryn Wysg, Ceredigion, Aberystwyth, Gwynedd and Llangollen.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: Focus on Dolbadarn Castle (Turner) and explain the Details of the picture.

The frame was especially commissioned for the painting from John Jones of London, in the 1940s. The picture was purchased by the Library with the help of the National Art Collection Fund and the National Lottery. The medium is oil on a wood panel and the visible area measures 45.5 x 30 cm., and the  frame  62 x 50 cm. Turner also submitted this work with some lines of verse related to the painting's themes, a relatively common practice of his. The verse reads, "How awful is the silence of the waste,/ Where nature lifts her mountains to the sky,/ Majestic solitude, behold the tower/ Where hopeless OWEN, long imprison'd, pined/ And wrung his hands for liberty in vain."Turner's use of contrast between light and dark creates a sense of peril and categorizes the painting as an example of the Sublime.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: Explain the Details of the picture of this artwork, Dolbadarn Castle (Turner).

The frame was especially commissioned for the painting from John Jones of London, in the 1940s. The picture was purchased by the Library with the help of the National Art Collection Fund and the National Lottery. The medium is oil on a wood panel and the visible area measures 45.5 x 30 cm., and the  frame  62 x 50 cm. Turner also submitted this work with some lines of verse related to the painting's themes, a relatively common practice of his. The verse reads, "How awful is the silence of the waste,/ Where nature lifts her mountains to the sky,/ Majestic solitude, behold the tower/ Where hopeless OWEN, long imprison'd, pined/ And wrung his hands for liberty in vain."Turner's use of contrast between light and dark creates a sense of peril and categorizes the painting as an example of the Sublime.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: How does Dolbadarn Castle (Turner) explain its Details of the picture?

The frame was especially commissioned for the painting from John Jones of London, in the 1940s. The picture was purchased by the Library with the help of the National Art Collection Fund and the National Lottery. The medium is oil on a wood panel and the visible area measures 45.5 x 30 cm., and the  frame  62 x 50 cm. Turner also submitted this work with some lines of verse related to the painting's themes, a relatively common practice of his. The verse reads, "How awful is the silence of the waste,/ Where nature lifts her mountains to the sky,/ Majestic solitude, behold the tower/ Where hopeless OWEN, long imprison'd, pined/ And wrung his hands for liberty in vain."Turner's use of contrast between light and dark creates a sense of peril and categorizes the painting as an example of the Sublime.

Category:Paintings in the National Library of Wales


Dolbadarn Castle (Turner)

Prompt: In Dolbadarn Castle (Turner), how is the Details of the picture discussed?

The frame was especially commissioned for the painting from John Jones of London, in the 1940s. The picture was purchased by the Library with the help of the National Art Collection Fund and the National Lottery. The medium is oil on a wood panel and the visible area measures 45.5 x 30 cm., and the  frame  62 x 50 cm. Turner also submitted this work with some lines of verse related to the painting's themes, a relatively common practice of his. The verse reads, "How awful is the silence of the waste,/ Where nature lifts her mountains to the sky,/ Majestic solitude, behold the tower/ Where hopeless OWEN, long imprison'd, pined/ And wrung his hands for liberty in vain."Turner's use of contrast between light and dark creates a sense of peril and categorizes the painting as an example of the Sublime.

Category:Paintings in the National Library of Wales


Prompt: Focus on Portrait of Eleonora Gonzaga della Rovere and explain the abstract.

Portrait of Eleonora Gonzaga is a 1538 painting by Titian, now in the Uffizi in Florence alongside its pair, Portrait of Francesco Maria della Rovere, showing Eleonora's husband. It formed the prototype for some of his later portraits, such as that of  Isabella of Portugal.

Portrait of Francesco Maria della Rovere (Titian)


Prompt: Explain the abstract of this artwork, Portrait of Eleonora Gonzaga della Rovere.

Portrait of Eleonora Gonzaga is a 1538 painting by Titian, now in the Uffizi in Florence alongside its pair, Portrait of Francesco Maria della Rovere, showing Eleonora's husband. It formed the prototype for some of his later portraits, such as that of  Isabella of Portugal.

Portrait of Francesco Maria della Rovere (Titian)


Prompt: How does Portrait of Eleonora Gonzaga della Rovere explain its abstract?

Portrait of Eleonora Gonzaga is a 1538 painting by Titian, now in the Uffizi in Florence alongside its pair, Portrait of Francesco Maria della Rovere, showing Eleonora's husband. It formed the prototype for some of his later portraits, such as that of  Isabella of Portugal.

Portrait of Francesco Maria della Rovere (Titian)


Prompt: In Portrait of Eleonora Gonzaga della Rovere, how is the abstract discussed?

Portrait of Eleonora Gonzaga is a 1538 painting by Titian, now in the Uffizi in Florence alongside its pair, Portrait of Francesco Maria della Rovere, showing Eleonora's husband. It formed the prototype for some of his later portraits, such as that of  Isabella of Portugal.

Portrait of Francesco Maria della Rovere (Titian)


Self-Portrait with a Black Dog

Prompt: Focus on Self-Portrait with a Black Dog and explain the abstract.

Self-Portrait with a Black Dog, Portrait of the Artist or Courbet with a Black Dog (French: Courbet au chien noir) is an 1842 oil-on-canvas painting by the French artist Gustave Courbet, retouched by the artist in 1844. It is now in the Petit Palais in Paris.

Salon (Paris)
Petit Palais
Paris
Théodore Géricault
Category:Paintings by Gustave Courbet
Category:Paintings in the Petit Palais
Category:Dogs in art
Paris Salon
Category:Self-portraits
Category:1842 paintings
Romanticism
Romantic
Gustave Courbet
Courbet
William Hogarth


Self-Portrait with a Black Dog

Prompt: Explain the abstract of this artwork, Self-Portrait with a Black Dog.

Self-Portrait with a Black Dog, Portrait of the Artist or Courbet with a Black Dog (French: Courbet au chien noir) is an 1842 oil-on-canvas painting by the French artist Gustave Courbet, retouched by the artist in 1844. It is now in the Petit Palais in Paris.

Salon (Paris)
Petit Palais
Paris
Théodore Géricault
Category:Paintings by Gustave Courbet
Category:Paintings in the Petit Palais
Category:Dogs in art
Paris Salon
Category:Self-portraits
Category:1842 paintings
Romanticism
Romantic
Gustave Courbet
Courbet
William Hogarth


Self-Portrait with a Black Dog

Prompt: How does Self-Portrait with a Black Dog explain its abstract?

Self-Portrait with a Black Dog, Portrait of the Artist or Courbet with a Black Dog (French: Courbet au chien noir) is an 1842 oil-on-canvas painting by the French artist Gustave Courbet, retouched by the artist in 1844. It is now in the Petit Palais in Paris.

Salon (Paris)
Petit Palais
Paris
Théodore Géricault
Category:Paintings by Gustave Courbet
Category:Paintings in the Petit Palais
Category:Dogs in art
Paris Salon
Category:Self-portraits
Category:1842 paintings
Romanticism
Romantic
Gustave Courbet
Courbet
William Hogarth


Self-Portrait with a Black Dog

Prompt: In Self-Portrait with a Black Dog, how is the abstract discussed?

Self-Portrait with a Black Dog, Portrait of the Artist or Courbet with a Black Dog (French: Courbet au chien noir) is an 1842 oil-on-canvas painting by the French artist Gustave Courbet, retouched by the artist in 1844. It is now in the Petit Palais in Paris.

Salon (Paris)
Petit Palais
Paris
Théodore Géricault
Category:Paintings by Gustave Courbet
Category:Paintings in the Petit Palais
Category:Dogs in art
Paris Salon
Category:Self-portraits
Category:1842 paintings
Romanticism
Romantic
Gustave Courbet
Courbet
William Hogarth


Self-Portrait with a Black Dog

Prompt: Focus on Self-Portrait with a Black Dog and explain the History.

This painting was one of the first by Courbet to be accepted at the Paris Salon. In the official catalog of the exhibition, opened in March 1844 at the Louvre Palace, it appears under number 414, with the title Portrait of the Author. Of the three paintings that he submitted, only this one was accepted.Analysis of the canvas reveals that it is the result of a re-use. Thus, we see on the contours the traces of a coat hanger, so as to present the painting in a rounded form. It is assumed that this painting was presented to the Salon public in the slightly rounded form. The artist is seen di sotto, involving a sunken viewer, suggesting that the painting may have been intended for an overdoor.

Salon (Paris)
Petit Palais
Paris
Théodore Géricault
Category:Paintings by Gustave Courbet
Category:Paintings in the Petit Palais
Category:Dogs in art
Paris Salon
Category:Self-portraits
Category:1842 paintings
Romanticism
Romantic
Gustave Courbet
Courbet
William Hogarth


Self-Portrait with a Black Dog

Prompt: Explain the History of this artwork, Self-Portrait with a Black Dog.

This painting was one of the first by Courbet to be accepted at the Paris Salon. In the official catalog of the exhibition, opened in March 1844 at the Louvre Palace, it appears under number 414, with the title Portrait of the Author. Of the three paintings that he submitted, only this one was accepted.Analysis of the canvas reveals that it is the result of a re-use. Thus, we see on the contours the traces of a coat hanger, so as to present the painting in a rounded form. It is assumed that this painting was presented to the Salon public in the slightly rounded form. The artist is seen di sotto, involving a sunken viewer, suggesting that the painting may have been intended for an overdoor.

Salon (Paris)
Petit Palais
Paris
Théodore Géricault
Category:Paintings by Gustave Courbet
Category:Paintings in the Petit Palais
Category:Dogs in art
Paris Salon
Category:Self-portraits
Category:1842 paintings
Romanticism
Romantic
Gustave Courbet
Courbet
William Hogarth


Self-Portrait with a Black Dog

Prompt: How does Self-Portrait with a Black Dog explain its History?

This painting was one of the first by Courbet to be accepted at the Paris Salon. In the official catalog of the exhibition, opened in March 1844 at the Louvre Palace, it appears under number 414, with the title Portrait of the Author. Of the three paintings that he submitted, only this one was accepted.Analysis of the canvas reveals that it is the result of a re-use. Thus, we see on the contours the traces of a coat hanger, so as to present the painting in a rounded form. It is assumed that this painting was presented to the Salon public in the slightly rounded form. The artist is seen di sotto, involving a sunken viewer, suggesting that the painting may have been intended for an overdoor.

Salon (Paris)
Petit Palais
Paris
Théodore Géricault
Category:Paintings by Gustave Courbet
Category:Paintings in the Petit Palais
Category:Dogs in art
Paris Salon
Category:Self-portraits
Category:1842 paintings
Romanticism
Romantic
Gustave Courbet
Courbet
William Hogarth


Self-Portrait with a Black Dog

Prompt: In Self-Portrait with a Black Dog, how is the History discussed?

This painting was one of the first by Courbet to be accepted at the Paris Salon. In the official catalog of the exhibition, opened in March 1844 at the Louvre Palace, it appears under number 414, with the title Portrait of the Author. Of the three paintings that he submitted, only this one was accepted.Analysis of the canvas reveals that it is the result of a re-use. Thus, we see on the contours the traces of a coat hanger, so as to present the painting in a rounded form. It is assumed that this painting was presented to the Salon public in the slightly rounded form. The artist is seen di sotto, involving a sunken viewer, suggesting that the painting may have been intended for an overdoor.

Salon (Paris)
Petit Palais
Paris
Théodore Géricault
Category:Paintings by Gustave Courbet
Category:Paintings in the Petit Palais
Category:Dogs in art
Paris Salon
Category:Self-portraits
Category:1842 paintings
Romanticism
Romantic
Gustave Courbet
Courbet
William Hogarth


Self-Portrait with a Black Dog

Prompt: Focus on Self-Portrait with a Black Dog and explain the Description.

A young man, Courbet himself, wearing a hat sits on the ground, flanked by a black dog. The character, leaning against a large rock, looks at the viewer while holding a pipe. Behind him a book and a cane are placed among the grass. In the distance are a landscape, a valley, trees and hills, overlooked by blue and cloudy skies. On the left are inscribed in blue the signature "Gustave Courbet" and a date, "1842".

Salon (Paris)
Petit Palais
Paris
Théodore Géricault
Category:Paintings by Gustave Courbet
Category:Paintings in the Petit Palais
Category:Dogs in art
Paris Salon
Category:Self-portraits
Category:1842 paintings
Romanticism
Romantic
Gustave Courbet
Courbet
William Hogarth


Self-Portrait with a Black Dog

Prompt: Explain the Description of this artwork, Self-Portrait with a Black Dog.

A young man, Courbet himself, wearing a hat sits on the ground, flanked by a black dog. The character, leaning against a large rock, looks at the viewer while holding a pipe. Behind him a book and a cane are placed among the grass. In the distance are a landscape, a valley, trees and hills, overlooked by blue and cloudy skies. On the left are inscribed in blue the signature "Gustave Courbet" and a date, "1842".

Salon (Paris)
Petit Palais
Paris
Théodore Géricault
Category:Paintings by Gustave Courbet
Category:Paintings in the Petit Palais
Category:Dogs in art
Paris Salon
Category:Self-portraits
Category:1842 paintings
Romanticism
Romantic
Gustave Courbet
Courbet
William Hogarth


Self-Portrait with a Black Dog

Prompt: How does Self-Portrait with a Black Dog explain its Description?

A young man, Courbet himself, wearing a hat sits on the ground, flanked by a black dog. The character, leaning against a large rock, looks at the viewer while holding a pipe. Behind him a book and a cane are placed among the grass. In the distance are a landscape, a valley, trees and hills, overlooked by blue and cloudy skies. On the left are inscribed in blue the signature "Gustave Courbet" and a date, "1842".

Salon (Paris)
Petit Palais
Paris
Théodore Géricault
Category:Paintings by Gustave Courbet
Category:Paintings in the Petit Palais
Category:Dogs in art
Paris Salon
Category:Self-portraits
Category:1842 paintings
Romanticism
Romantic
Gustave Courbet
Courbet
William Hogarth


Self-Portrait with a Black Dog

Prompt: In Self-Portrait with a Black Dog, how is the Description discussed?

A young man, Courbet himself, wearing a hat sits on the ground, flanked by a black dog. The character, leaning against a large rock, looks at the viewer while holding a pipe. Behind him a book and a cane are placed among the grass. In the distance are a landscape, a valley, trees and hills, overlooked by blue and cloudy skies. On the left are inscribed in blue the signature "Gustave Courbet" and a date, "1842".

Salon (Paris)
Petit Palais
Paris
Théodore Géricault
Category:Paintings by Gustave Courbet
Category:Paintings in the Petit Palais
Category:Dogs in art
Paris Salon
Category:Self-portraits
Category:1842 paintings
Romanticism
Romantic
Gustave Courbet
Courbet
William Hogarth


Self-Portrait with a Black Dog

Prompt: Focus on Self-Portrait with a Black Dog and explain the Analysis.

Courbet presents himself in the fashion of the time, with his bohemianism symbolized by his black cape hemmed in light, striped trousers, and long hair, in a landscape of his native land, which was assumed to be the Bonnevaux valley, but which is undoubtedly partly imaginary. By settling in the open air, he follows the process of the English portrait painters of the 18th century, which was in vogue during the Romantic era.The style and the motif of the painting are noticeably inspired by Théodore Géricault, but also by the "serpentine line" of William Hogarth.

Salon (Paris)
Petit Palais
Paris
Théodore Géricault
Category:Paintings by Gustave Courbet
Category:Paintings in the Petit Palais
Category:Dogs in art
Paris Salon
Category:Self-portraits
Category:1842 paintings
Romanticism
Romantic
Gustave Courbet
Courbet
William Hogarth


Self-Portrait with a Black Dog

Prompt: Explain the Analysis of this artwork, Self-Portrait with a Black Dog.

Courbet presents himself in the fashion of the time, with his bohemianism symbolized by his black cape hemmed in light, striped trousers, and long hair, in a landscape of his native land, which was assumed to be the Bonnevaux valley, but which is undoubtedly partly imaginary. By settling in the open air, he follows the process of the English portrait painters of the 18th century, which was in vogue during the Romantic era.The style and the motif of the painting are noticeably inspired by Théodore Géricault, but also by the "serpentine line" of William Hogarth.

Salon (Paris)
Petit Palais
Paris
Théodore Géricault
Category:Paintings by Gustave Courbet
Category:Paintings in the Petit Palais
Category:Dogs in art
Paris Salon
Category:Self-portraits
Category:1842 paintings
Romanticism
Romantic
Gustave Courbet
Courbet
William Hogarth