View of Delft

Prompt: In View of Delft, how is the Comparison with other paintings discussed?

Delft was also painted by Hendrick Cornelisz Vroom in View of Delft from the North-west and View of Delft from the South-west (1615), Carel Fabritius in A View of Delft (1652), Egbert van der Poel in View of Delft Explosion of 1654 (after the explosion of 1654), and Pieter Wouwerman in View of the horse market in Delft (1665). Vroom was most known for his seascapes, which is why his views of Delft focus on the river Schie rather than the buildings of the town. Like Vermeer's painting, Fabritius's A View of Delft features the Nieuwe Kerk. This painting was likely meant to be seen in a perspective box through a peephole as a trompe l'œil (trick of the eye), which would trick the viewer's eye into seeing a three-dimensional view of the street. Van der Poel's painting shows both the Nieuwe Kerk and the Oude Kerk, as well as the chapel of the hospital of St. George. The scene depicts the town after 40,000 kg of gunpowder exploded, killing hundreds of people including Carel Fabritius. Despite the devastation, the two churches still stand. Unlike other paintings of Delft which feature a busy harbour, Vermeer only painted a few boats. Vermeer also painted Delft from the south side instead of the more popular north side, as the south side was the only part of the town where buildings were left untouched by the Delft Thunderclap (explosion).

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: Focus on View of Delft and explain the Patronage and provenance.

Pieter Claeszoon van Ruijven, a lover of architectural paintings, commissioned View of Delft along with The Little Street. Van Ruijven was a native of Delft and only eight years Vermeer's senior. He may have been introduced to Vermeer by his brother, Jan van Ruijven, the notary who documented Vermeer's marriage to Catharina Bolnes. It is known for certain, however, that in 1657 van Ruijven lent Vermeer 200 guilders. He left 500 guilders in his will for Vermeer and specifically worded the document so that Catharina Bolnes would not inherit the money. Vermeer was the only person named in the will who was not part of his or his wife's family. After van Ruijven's death, View of Delft was inherited by his daughter Magdalena. It was auctioned by her husband Jacob Dissius on 16 May 1696 for 200 guilders. This works out to about $21,000 in 2024. In the eighteenth century it was owned by merchant Willem Philip Kops. After his death it passed on to his wife, who in turn after her death in 1820 passed it on to her daughter, Johanna Kops, who finally decided to auction it. The director of the Mauritshuis at the time, Johan Steengracht van Oostcapelle, instructed the minister not to bid on it as it would not fit in the cabinet. On the other hand, the director of the Rijksmuseum, Cornelius Apostool, urged the minister to ask the king William I for money to buy it. The painting was then sold to the Dutch government in 1822 by S. J. Stinstra of Amsterdam for 2900 guilders. However, the king had it exhibited in the new Dutch Royal Cabinet of Paintings established at the Mauritshuis in The Hague, and not in Amsterdam as expected. The reasons for this decision are not known. It is assumed that William I simply liked the painting or that he saw the depiction of the Nieuwe Kerk as a reminder of his ancestors.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: Explain the Patronage and provenance of this artwork, View of Delft.

Pieter Claeszoon van Ruijven, a lover of architectural paintings, commissioned View of Delft along with The Little Street. Van Ruijven was a native of Delft and only eight years Vermeer's senior. He may have been introduced to Vermeer by his brother, Jan van Ruijven, the notary who documented Vermeer's marriage to Catharina Bolnes. It is known for certain, however, that in 1657 van Ruijven lent Vermeer 200 guilders. He left 500 guilders in his will for Vermeer and specifically worded the document so that Catharina Bolnes would not inherit the money. Vermeer was the only person named in the will who was not part of his or his wife's family. After van Ruijven's death, View of Delft was inherited by his daughter Magdalena. It was auctioned by her husband Jacob Dissius on 16 May 1696 for 200 guilders. This works out to about $21,000 in 2024. In the eighteenth century it was owned by merchant Willem Philip Kops. After his death it passed on to his wife, who in turn after her death in 1820 passed it on to her daughter, Johanna Kops, who finally decided to auction it. The director of the Mauritshuis at the time, Johan Steengracht van Oostcapelle, instructed the minister not to bid on it as it would not fit in the cabinet. On the other hand, the director of the Rijksmuseum, Cornelius Apostool, urged the minister to ask the king William I for money to buy it. The painting was then sold to the Dutch government in 1822 by S. J. Stinstra of Amsterdam for 2900 guilders. However, the king had it exhibited in the new Dutch Royal Cabinet of Paintings established at the Mauritshuis in The Hague, and not in Amsterdam as expected. The reasons for this decision are not known. It is assumed that William I simply liked the painting or that he saw the depiction of the Nieuwe Kerk as a reminder of his ancestors.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: How does View of Delft explain its Patronage and provenance?

Pieter Claeszoon van Ruijven, a lover of architectural paintings, commissioned View of Delft along with The Little Street. Van Ruijven was a native of Delft and only eight years Vermeer's senior. He may have been introduced to Vermeer by his brother, Jan van Ruijven, the notary who documented Vermeer's marriage to Catharina Bolnes. It is known for certain, however, that in 1657 van Ruijven lent Vermeer 200 guilders. He left 500 guilders in his will for Vermeer and specifically worded the document so that Catharina Bolnes would not inherit the money. Vermeer was the only person named in the will who was not part of his or his wife's family. After van Ruijven's death, View of Delft was inherited by his daughter Magdalena. It was auctioned by her husband Jacob Dissius on 16 May 1696 for 200 guilders. This works out to about $21,000 in 2024. In the eighteenth century it was owned by merchant Willem Philip Kops. After his death it passed on to his wife, who in turn after her death in 1820 passed it on to her daughter, Johanna Kops, who finally decided to auction it. The director of the Mauritshuis at the time, Johan Steengracht van Oostcapelle, instructed the minister not to bid on it as it would not fit in the cabinet. On the other hand, the director of the Rijksmuseum, Cornelius Apostool, urged the minister to ask the king William I for money to buy it. The painting was then sold to the Dutch government in 1822 by S. J. Stinstra of Amsterdam for 2900 guilders. However, the king had it exhibited in the new Dutch Royal Cabinet of Paintings established at the Mauritshuis in The Hague, and not in Amsterdam as expected. The reasons for this decision are not known. It is assumed that William I simply liked the painting or that he saw the depiction of the Nieuwe Kerk as a reminder of his ancestors.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: In View of Delft, how is the Patronage and provenance discussed?

Pieter Claeszoon van Ruijven, a lover of architectural paintings, commissioned View of Delft along with The Little Street. Van Ruijven was a native of Delft and only eight years Vermeer's senior. He may have been introduced to Vermeer by his brother, Jan van Ruijven, the notary who documented Vermeer's marriage to Catharina Bolnes. It is known for certain, however, that in 1657 van Ruijven lent Vermeer 200 guilders. He left 500 guilders in his will for Vermeer and specifically worded the document so that Catharina Bolnes would not inherit the money. Vermeer was the only person named in the will who was not part of his or his wife's family. After van Ruijven's death, View of Delft was inherited by his daughter Magdalena. It was auctioned by her husband Jacob Dissius on 16 May 1696 for 200 guilders. This works out to about $21,000 in 2024. In the eighteenth century it was owned by merchant Willem Philip Kops. After his death it passed on to his wife, who in turn after her death in 1820 passed it on to her daughter, Johanna Kops, who finally decided to auction it. The director of the Mauritshuis at the time, Johan Steengracht van Oostcapelle, instructed the minister not to bid on it as it would not fit in the cabinet. On the other hand, the director of the Rijksmuseum, Cornelius Apostool, urged the minister to ask the king William I for money to buy it. The painting was then sold to the Dutch government in 1822 by S. J. Stinstra of Amsterdam for 2900 guilders. However, the king had it exhibited in the new Dutch Royal Cabinet of Paintings established at the Mauritshuis in The Hague, and not in Amsterdam as expected. The reasons for this decision are not known. It is assumed that William I simply liked the painting or that he saw the depiction of the Nieuwe Kerk as a reminder of his ancestors.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: Focus on View of Delft and explain the Legacy.

Marcel Proust greatly admired Vermeer, and particularly this painting. The painting features in his novel In Search of Lost Time. In Volume One, Swann's Way (published 1913), he lets the hero Swann work on a biography of Vermeer (which he writes out Ver Meer). In volume 5 (The Prisoner, published 1923), he lets the writer Bergotte die in front of this painting. Before, Bergotte had taken inspiration from Vermeer's technique: "That's how I ought to have written ... My last books are too dry, I ought to have ... made my language precious in itself, like this little patch of yellow wall ('petit pan de mur jaune')".  On 1 May 1921, in a letter to his friend Jean-Louis Vaudoyer who had just published an article about the painter, Proust reminded him of his mention of Vermeer in Volume One and described how he felt when he saw the painting for the first time in October 1902:Ever since I saw the View of Delft in the museum in The Hague, I have known that I had seen the most beautiful painting in the world.At the end of May 1921, Proust viewed the painting again while visiting an exhibition of Dutch masters at the Jeu de Paume in Paris accompanied by Vaudoyer, and suffered a seizure in front of the painting, which later inspired him to have Bergotte die in front of it.In 2011, the painting was featured on gold and silver commemorative coins issued by the Royal Dutch Mint.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: Explain the Legacy of this artwork, View of Delft.

Marcel Proust greatly admired Vermeer, and particularly this painting. The painting features in his novel In Search of Lost Time. In Volume One, Swann's Way (published 1913), he lets the hero Swann work on a biography of Vermeer (which he writes out Ver Meer). In volume 5 (The Prisoner, published 1923), he lets the writer Bergotte die in front of this painting. Before, Bergotte had taken inspiration from Vermeer's technique: "That's how I ought to have written ... My last books are too dry, I ought to have ... made my language precious in itself, like this little patch of yellow wall ('petit pan de mur jaune')".  On 1 May 1921, in a letter to his friend Jean-Louis Vaudoyer who had just published an article about the painter, Proust reminded him of his mention of Vermeer in Volume One and described how he felt when he saw the painting for the first time in October 1902:Ever since I saw the View of Delft in the museum in The Hague, I have known that I had seen the most beautiful painting in the world.At the end of May 1921, Proust viewed the painting again while visiting an exhibition of Dutch masters at the Jeu de Paume in Paris accompanied by Vaudoyer, and suffered a seizure in front of the painting, which later inspired him to have Bergotte die in front of it.In 2011, the painting was featured on gold and silver commemorative coins issued by the Royal Dutch Mint.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: How does View of Delft explain its Legacy?

Marcel Proust greatly admired Vermeer, and particularly this painting. The painting features in his novel In Search of Lost Time. In Volume One, Swann's Way (published 1913), he lets the hero Swann work on a biography of Vermeer (which he writes out Ver Meer). In volume 5 (The Prisoner, published 1923), he lets the writer Bergotte die in front of this painting. Before, Bergotte had taken inspiration from Vermeer's technique: "That's how I ought to have written ... My last books are too dry, I ought to have ... made my language precious in itself, like this little patch of yellow wall ('petit pan de mur jaune')".  On 1 May 1921, in a letter to his friend Jean-Louis Vaudoyer who had just published an article about the painter, Proust reminded him of his mention of Vermeer in Volume One and described how he felt when he saw the painting for the first time in October 1902:Ever since I saw the View of Delft in the museum in The Hague, I have known that I had seen the most beautiful painting in the world.At the end of May 1921, Proust viewed the painting again while visiting an exhibition of Dutch masters at the Jeu de Paume in Paris accompanied by Vaudoyer, and suffered a seizure in front of the painting, which later inspired him to have Bergotte die in front of it.In 2011, the painting was featured on gold and silver commemorative coins issued by the Royal Dutch Mint.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: In View of Delft, how is the Legacy discussed?

Marcel Proust greatly admired Vermeer, and particularly this painting. The painting features in his novel In Search of Lost Time. In Volume One, Swann's Way (published 1913), he lets the hero Swann work on a biography of Vermeer (which he writes out Ver Meer). In volume 5 (The Prisoner, published 1923), he lets the writer Bergotte die in front of this painting. Before, Bergotte had taken inspiration from Vermeer's technique: "That's how I ought to have written ... My last books are too dry, I ought to have ... made my language precious in itself, like this little patch of yellow wall ('petit pan de mur jaune')".  On 1 May 1921, in a letter to his friend Jean-Louis Vaudoyer who had just published an article about the painter, Proust reminded him of his mention of Vermeer in Volume One and described how he felt when he saw the painting for the first time in October 1902:Ever since I saw the View of Delft in the museum in The Hague, I have known that I had seen the most beautiful painting in the world.At the end of May 1921, Proust viewed the painting again while visiting an exhibition of Dutch masters at the Jeu de Paume in Paris accompanied by Vaudoyer, and suffered a seizure in front of the painting, which later inspired him to have Bergotte die in front of it.In 2011, the painting was featured on gold and silver commemorative coins issued by the Royal Dutch Mint.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


Syndics of the Drapers' Guild

Prompt: Focus on Syndics of the Drapers' Guild and explain the abstract.

The Sampling Officials (Dutch: De Staalmeesters), also called Syndics of the Drapers’ Guild (Dutch: De waardijns van het Amsterdamse lakenbereidersgilde), is a 1662 oil painting by Rembrandt. It is now in the Rijksmuseum in Amsterdam. It has been described as his "last great collective portrait".The painting is a group portrait of five gentlemen from the Amsterdam cloth guild who were responsible for inspecting the cloth, along with their servant. They were not the regents of the guild but the wardens: two Catholics, a Mennonite, a Remonstrant, and a Reformed Protestant. Their one-year terms in office began on Good Friday and they were expected to conduct their inspections thrice weekly. It was an unpaid honorary position. To compare the quality of different batches of cloth, they used 'samples,' test pieces of fabric—hence their name, "staalmeesters" (masters of samples in Dutch). There were four grades of quality, the highest was indicated by pressing four seals and the lowest by pressing only one. The inspectors used pliers to press the seals of their city (front) and guild (reverse) into penny-sized slugs of lead that were specially affixed to record the results of the inspection. They met three times a week. The aforementioned "staalmeesters" performed their duties from Good Friday 1661 to Good Friday 1662. Van Doeyenburg acted as the chairman of the group. The open book likely concerns the guild's accounting records. For a long time, it was thought that the man on the far right of the painting was holding a bag of stamps. During the restoration in 1991, it turned out to be a pair of gloves. The men, who are appraising a length of Persian-style fabric against exemplars from a swatch book, are (from left to right):Jacob van Loon (1595–1674)Volckert Jansz (1605 or 1610–1681)Willem van Doeyenburg (ca. 1616–1687)Frans Hendricksz Bel (1629–1701)Aernout van der Mye (ca.1625–1681)Jochem de Neve (1629–1681)The guild commissioned this portrait and it hung in their guildhall, the Staalhof (nl), until 1771.The painting is used on the packaging of Dutch Masters cigars. The painting is also seen on the wall in H. G. Wells' house in the opening sequence of The Time Machine. The painting has a prominent part in Jeffrey Archer's 2019 book "Nothing Ventured". It is used on the cover of the book titled 'The Company: A Short History of a Revolutionary Idea' by John Micklethwait and Adrian Wooldridge.

Category:History of the textile industry


Syndics of the Drapers' Guild

Prompt: Explain the abstract of this artwork, Syndics of the Drapers' Guild.

The Sampling Officials (Dutch: De Staalmeesters), also called Syndics of the Drapers’ Guild (Dutch: De waardijns van het Amsterdamse lakenbereidersgilde), is a 1662 oil painting by Rembrandt. It is now in the Rijksmuseum in Amsterdam. It has been described as his "last great collective portrait".The painting is a group portrait of five gentlemen from the Amsterdam cloth guild who were responsible for inspecting the cloth, along with their servant. They were not the regents of the guild but the wardens: two Catholics, a Mennonite, a Remonstrant, and a Reformed Protestant. Their one-year terms in office began on Good Friday and they were expected to conduct their inspections thrice weekly. It was an unpaid honorary position. To compare the quality of different batches of cloth, they used 'samples,' test pieces of fabric—hence their name, "staalmeesters" (masters of samples in Dutch). There were four grades of quality, the highest was indicated by pressing four seals and the lowest by pressing only one. The inspectors used pliers to press the seals of their city (front) and guild (reverse) into penny-sized slugs of lead that were specially affixed to record the results of the inspection. They met three times a week. The aforementioned "staalmeesters" performed their duties from Good Friday 1661 to Good Friday 1662. Van Doeyenburg acted as the chairman of the group. The open book likely concerns the guild's accounting records. For a long time, it was thought that the man on the far right of the painting was holding a bag of stamps. During the restoration in 1991, it turned out to be a pair of gloves. The men, who are appraising a length of Persian-style fabric against exemplars from a swatch book, are (from left to right):Jacob van Loon (1595–1674)Volckert Jansz (1605 or 1610–1681)Willem van Doeyenburg (ca. 1616–1687)Frans Hendricksz Bel (1629–1701)Aernout van der Mye (ca.1625–1681)Jochem de Neve (1629–1681)The guild commissioned this portrait and it hung in their guildhall, the Staalhof (nl), until 1771.The painting is used on the packaging of Dutch Masters cigars. The painting is also seen on the wall in H. G. Wells' house in the opening sequence of The Time Machine. The painting has a prominent part in Jeffrey Archer's 2019 book "Nothing Ventured". It is used on the cover of the book titled 'The Company: A Short History of a Revolutionary Idea' by John Micklethwait and Adrian Wooldridge.

Category:History of the textile industry


Syndics of the Drapers' Guild

Prompt: How does Syndics of the Drapers' Guild explain its abstract?

The Sampling Officials (Dutch: De Staalmeesters), also called Syndics of the Drapers’ Guild (Dutch: De waardijns van het Amsterdamse lakenbereidersgilde), is a 1662 oil painting by Rembrandt. It is now in the Rijksmuseum in Amsterdam. It has been described as his "last great collective portrait".The painting is a group portrait of five gentlemen from the Amsterdam cloth guild who were responsible for inspecting the cloth, along with their servant. They were not the regents of the guild but the wardens: two Catholics, a Mennonite, a Remonstrant, and a Reformed Protestant. Their one-year terms in office began on Good Friday and they were expected to conduct their inspections thrice weekly. It was an unpaid honorary position. To compare the quality of different batches of cloth, they used 'samples,' test pieces of fabric—hence their name, "staalmeesters" (masters of samples in Dutch). There were four grades of quality, the highest was indicated by pressing four seals and the lowest by pressing only one. The inspectors used pliers to press the seals of their city (front) and guild (reverse) into penny-sized slugs of lead that were specially affixed to record the results of the inspection. They met three times a week. The aforementioned "staalmeesters" performed their duties from Good Friday 1661 to Good Friday 1662. Van Doeyenburg acted as the chairman of the group. The open book likely concerns the guild's accounting records. For a long time, it was thought that the man on the far right of the painting was holding a bag of stamps. During the restoration in 1991, it turned out to be a pair of gloves. The men, who are appraising a length of Persian-style fabric against exemplars from a swatch book, are (from left to right):Jacob van Loon (1595–1674)Volckert Jansz (1605 or 1610–1681)Willem van Doeyenburg (ca. 1616–1687)Frans Hendricksz Bel (1629–1701)Aernout van der Mye (ca.1625–1681)Jochem de Neve (1629–1681)The guild commissioned this portrait and it hung in their guildhall, the Staalhof (nl), until 1771.The painting is used on the packaging of Dutch Masters cigars. The painting is also seen on the wall in H. G. Wells' house in the opening sequence of The Time Machine. The painting has a prominent part in Jeffrey Archer's 2019 book "Nothing Ventured". It is used on the cover of the book titled 'The Company: A Short History of a Revolutionary Idea' by John Micklethwait and Adrian Wooldridge.

Category:History of the textile industry


Syndics of the Drapers' Guild

Prompt: In Syndics of the Drapers' Guild, how is the abstract discussed?

The Sampling Officials (Dutch: De Staalmeesters), also called Syndics of the Drapers’ Guild (Dutch: De waardijns van het Amsterdamse lakenbereidersgilde), is a 1662 oil painting by Rembrandt. It is now in the Rijksmuseum in Amsterdam. It has been described as his "last great collective portrait".The painting is a group portrait of five gentlemen from the Amsterdam cloth guild who were responsible for inspecting the cloth, along with their servant. They were not the regents of the guild but the wardens: two Catholics, a Mennonite, a Remonstrant, and a Reformed Protestant. Their one-year terms in office began on Good Friday and they were expected to conduct their inspections thrice weekly. It was an unpaid honorary position. To compare the quality of different batches of cloth, they used 'samples,' test pieces of fabric—hence their name, "staalmeesters" (masters of samples in Dutch). There were four grades of quality, the highest was indicated by pressing four seals and the lowest by pressing only one. The inspectors used pliers to press the seals of their city (front) and guild (reverse) into penny-sized slugs of lead that were specially affixed to record the results of the inspection. They met three times a week. The aforementioned "staalmeesters" performed their duties from Good Friday 1661 to Good Friday 1662. Van Doeyenburg acted as the chairman of the group. The open book likely concerns the guild's accounting records. For a long time, it was thought that the man on the far right of the painting was holding a bag of stamps. During the restoration in 1991, it turned out to be a pair of gloves. The men, who are appraising a length of Persian-style fabric against exemplars from a swatch book, are (from left to right):Jacob van Loon (1595–1674)Volckert Jansz (1605 or 1610–1681)Willem van Doeyenburg (ca. 1616–1687)Frans Hendricksz Bel (1629–1701)Aernout van der Mye (ca.1625–1681)Jochem de Neve (1629–1681)The guild commissioned this portrait and it hung in their guildhall, the Staalhof (nl), until 1771.The painting is used on the packaging of Dutch Masters cigars. The painting is also seen on the wall in H. G. Wells' house in the opening sequence of The Time Machine. The painting has a prominent part in Jeffrey Archer's 2019 book "Nothing Ventured". It is used on the cover of the book titled 'The Company: A Short History of a Revolutionary Idea' by John Micklethwait and Adrian Wooldridge.

Category:History of the textile industry


Syndics of the Drapers' Guild

Prompt: Focus on Syndics of the Drapers' Guild and explain the Composition and Style.

Rembrandt likely considered the placement of the painting on the wall, as he chose a perspective with a fairly low vantage point, allowing the viewer to look up at the table from below. This angle magnifies the stature of the "staalmeesters" (cloth inspectors) enhancing their sense of importance. He also likely adjusted the lighting in the painting to match the actual lighting of the location where the painting was originally intended to hang. The paneling in the background of the painting likely matched the original interior design of the room in the Staalhof. The work was probably hung quite high in the room, above a mantelpiece, so the upward perspective had a practical function: it matched the viewer's line of sight in the room. This perspective makes the tabletop invisible, showing only the view of a heavy, rich tablecloth. This technique allowed Rembrandt to position the figures almost in a straight line: five dark shapes, their white collars, and the serious, frontal gazes of the "staalmeesters," fully aware of the importance of their role. This arrangement presents the viewer with a row of five distinguished, intense faces, aligned almost horizontally but with a slight oscillation like lanterns.

Category:History of the textile industry


Syndics of the Drapers' Guild

Prompt: Explain the Composition and Style of this artwork, Syndics of the Drapers' Guild.

Rembrandt likely considered the placement of the painting on the wall, as he chose a perspective with a fairly low vantage point, allowing the viewer to look up at the table from below. This angle magnifies the stature of the "staalmeesters" (cloth inspectors) enhancing their sense of importance. He also likely adjusted the lighting in the painting to match the actual lighting of the location where the painting was originally intended to hang. The paneling in the background of the painting likely matched the original interior design of the room in the Staalhof. The work was probably hung quite high in the room, above a mantelpiece, so the upward perspective had a practical function: it matched the viewer's line of sight in the room. This perspective makes the tabletop invisible, showing only the view of a heavy, rich tablecloth. This technique allowed Rembrandt to position the figures almost in a straight line: five dark shapes, their white collars, and the serious, frontal gazes of the "staalmeesters," fully aware of the importance of their role. This arrangement presents the viewer with a row of five distinguished, intense faces, aligned almost horizontally but with a slight oscillation like lanterns.

Category:History of the textile industry


Syndics of the Drapers' Guild

Prompt: How does Syndics of the Drapers' Guild explain its Composition and Style?

Rembrandt likely considered the placement of the painting on the wall, as he chose a perspective with a fairly low vantage point, allowing the viewer to look up at the table from below. This angle magnifies the stature of the "staalmeesters" (cloth inspectors) enhancing their sense of importance. He also likely adjusted the lighting in the painting to match the actual lighting of the location where the painting was originally intended to hang. The paneling in the background of the painting likely matched the original interior design of the room in the Staalhof. The work was probably hung quite high in the room, above a mantelpiece, so the upward perspective had a practical function: it matched the viewer's line of sight in the room. This perspective makes the tabletop invisible, showing only the view of a heavy, rich tablecloth. This technique allowed Rembrandt to position the figures almost in a straight line: five dark shapes, their white collars, and the serious, frontal gazes of the "staalmeesters," fully aware of the importance of their role. This arrangement presents the viewer with a row of five distinguished, intense faces, aligned almost horizontally but with a slight oscillation like lanterns.

Category:History of the textile industry


Syndics of the Drapers' Guild

Prompt: In Syndics of the Drapers' Guild, how is the Composition and Style discussed?

Rembrandt likely considered the placement of the painting on the wall, as he chose a perspective with a fairly low vantage point, allowing the viewer to look up at the table from below. This angle magnifies the stature of the "staalmeesters" (cloth inspectors) enhancing their sense of importance. He also likely adjusted the lighting in the painting to match the actual lighting of the location where the painting was originally intended to hang. The paneling in the background of the painting likely matched the original interior design of the room in the Staalhof. The work was probably hung quite high in the room, above a mantelpiece, so the upward perspective had a practical function: it matched the viewer's line of sight in the room. This perspective makes the tabletop invisible, showing only the view of a heavy, rich tablecloth. This technique allowed Rembrandt to position the figures almost in a straight line: five dark shapes, their white collars, and the serious, frontal gazes of the "staalmeesters," fully aware of the importance of their role. This arrangement presents the viewer with a row of five distinguished, intense faces, aligned almost horizontally but with a slight oscillation like lanterns.

Category:History of the textile industry


Jacopo de' Barbari

Prompt: Focus on Jacopo de' Barbari and explain the abstract.

Jacopo de' Barbari, sometimes known or referred to as de'Barbari, de Barberi, de Barbari, Barbaro, Barberino, Barbarigo or Barberigo (c. 1460/70 – before 1516), was an Italian painter, printmaker and miniaturist with a highly individual style. He moved from Venice to Germany in 1500, thus becoming the first Italian Renaissance artist of stature to work in Northern Europe. His few surviving paintings (about twelve) include the first known example of trompe-l'œil since antiquity. His twenty-nine engravings and three very large woodcuts were also highly influential.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: Explain the abstract of this artwork, Jacopo de' Barbari.

Jacopo de' Barbari, sometimes known or referred to as de'Barbari, de Barberi, de Barbari, Barbaro, Barberino, Barbarigo or Barberigo (c. 1460/70 – before 1516), was an Italian painter, printmaker and miniaturist with a highly individual style. He moved from Venice to Germany in 1500, thus becoming the first Italian Renaissance artist of stature to work in Northern Europe. His few surviving paintings (about twelve) include the first known example of trompe-l'œil since antiquity. His twenty-nine engravings and three very large woodcuts were also highly influential.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: How does Jacopo de' Barbari explain its abstract?

Jacopo de' Barbari, sometimes known or referred to as de'Barbari, de Barberi, de Barbari, Barbaro, Barberino, Barbarigo or Barberigo (c. 1460/70 – before 1516), was an Italian painter, printmaker and miniaturist with a highly individual style. He moved from Venice to Germany in 1500, thus becoming the first Italian Renaissance artist of stature to work in Northern Europe. His few surviving paintings (about twelve) include the first known example of trompe-l'œil since antiquity. His twenty-nine engravings and three very large woodcuts were also highly influential.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: In Jacopo de' Barbari, how is the abstract discussed?

Jacopo de' Barbari, sometimes known or referred to as de'Barbari, de Barberi, de Barbari, Barbaro, Barberino, Barbarigo or Barberigo (c. 1460/70 – before 1516), was an Italian painter, printmaker and miniaturist with a highly individual style. He moved from Venice to Germany in 1500, thus becoming the first Italian Renaissance artist of stature to work in Northern Europe. His few surviving paintings (about twelve) include the first known example of trompe-l'œil since antiquity. His twenty-nine engravings and three very large woodcuts were also highly influential.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: Focus on Jacopo de' Barbari and explain the Life.

His place and date of birth are unknown, but he was described as a Venetian by contemporaries, including Albrecht Dürer ("van Venedig geporn"), and as 'old and weak' in 1511, so dates of between 1450 and 1470 have been proposed. Some believed that he was actually German-born before moving to Italy. However this belief is not conclusive and remains a hypothesis to researchers. Since the earlier date range would have him achieve sudden prominence at the age of nearly fifty, the later date range would seem more likely. He signed most of his engravings with a caduceus, the sign of Mercury, and the Munich Still-Life with Partridge and Gauntlets (right) with this below his name: "Jac.o de barbarj p 1504" on the painted piece of paper. He was probably not of the important Venetian Barbaro family as he was never listed in that family's genealogy.Nothing is known about his first decades, although Alvise Vivarini has been suggested as his master. He left Venice for Germany in 1500, and thereafter is better documented. There he worked for the Emperor Maximilian I in Nuremberg for a year, then in various places for Frederick the Wise of Saxony in 1503–5, before moving to the court of the Elector Joachim I of Brandenburg for about the years 1506–8. In Germany he was often known as "Jacop Walch", probably from "Wälsch" meaning foreigner, a term especially used for Italians.He may have returned to Venice with Philip the Handsome of Burgundy, for whom he  later worked in the Netherlands. By March 1510 he was working for Philip's successor Archduchess Margaret in Brussels and Mechelen. In January 1511 he fell ill and made a will, and in March the Archduchess gave him a pension for life, on account of his age and weakness ("debilitation et vieillesse"). By 1516 he had died, leaving the Archduchess in possession of twenty-three engraving plates, which since many of his plates were probably engraved on both sides, means some engravings may not have survived.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: Explain the Life of this artwork, Jacopo de' Barbari.

His place and date of birth are unknown, but he was described as a Venetian by contemporaries, including Albrecht Dürer ("van Venedig geporn"), and as 'old and weak' in 1511, so dates of between 1450 and 1470 have been proposed. Some believed that he was actually German-born before moving to Italy. However this belief is not conclusive and remains a hypothesis to researchers. Since the earlier date range would have him achieve sudden prominence at the age of nearly fifty, the later date range would seem more likely. He signed most of his engravings with a caduceus, the sign of Mercury, and the Munich Still-Life with Partridge and Gauntlets (right) with this below his name: "Jac.o de barbarj p 1504" on the painted piece of paper. He was probably not of the important Venetian Barbaro family as he was never listed in that family's genealogy.Nothing is known about his first decades, although Alvise Vivarini has been suggested as his master. He left Venice for Germany in 1500, and thereafter is better documented. There he worked for the Emperor Maximilian I in Nuremberg for a year, then in various places for Frederick the Wise of Saxony in 1503–5, before moving to the court of the Elector Joachim I of Brandenburg for about the years 1506–8. In Germany he was often known as "Jacop Walch", probably from "Wälsch" meaning foreigner, a term especially used for Italians.He may have returned to Venice with Philip the Handsome of Burgundy, for whom he  later worked in the Netherlands. By March 1510 he was working for Philip's successor Archduchess Margaret in Brussels and Mechelen. In January 1511 he fell ill and made a will, and in March the Archduchess gave him a pension for life, on account of his age and weakness ("debilitation et vieillesse"). By 1516 he had died, leaving the Archduchess in possession of twenty-three engraving plates, which since many of his plates were probably engraved on both sides, means some engravings may not have survived.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: How does Jacopo de' Barbari explain its Life?

His place and date of birth are unknown, but he was described as a Venetian by contemporaries, including Albrecht Dürer ("van Venedig geporn"), and as 'old and weak' in 1511, so dates of between 1450 and 1470 have been proposed. Some believed that he was actually German-born before moving to Italy. However this belief is not conclusive and remains a hypothesis to researchers. Since the earlier date range would have him achieve sudden prominence at the age of nearly fifty, the later date range would seem more likely. He signed most of his engravings with a caduceus, the sign of Mercury, and the Munich Still-Life with Partridge and Gauntlets (right) with this below his name: "Jac.o de barbarj p 1504" on the painted piece of paper. He was probably not of the important Venetian Barbaro family as he was never listed in that family's genealogy.Nothing is known about his first decades, although Alvise Vivarini has been suggested as his master. He left Venice for Germany in 1500, and thereafter is better documented. There he worked for the Emperor Maximilian I in Nuremberg for a year, then in various places for Frederick the Wise of Saxony in 1503–5, before moving to the court of the Elector Joachim I of Brandenburg for about the years 1506–8. In Germany he was often known as "Jacop Walch", probably from "Wälsch" meaning foreigner, a term especially used for Italians.He may have returned to Venice with Philip the Handsome of Burgundy, for whom he  later worked in the Netherlands. By March 1510 he was working for Philip's successor Archduchess Margaret in Brussels and Mechelen. In January 1511 he fell ill and made a will, and in March the Archduchess gave him a pension for life, on account of his age and weakness ("debilitation et vieillesse"). By 1516 he had died, leaving the Archduchess in possession of twenty-three engraving plates, which since many of his plates were probably engraved on both sides, means some engravings may not have survived.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: In Jacopo de' Barbari, how is the Life discussed?

His place and date of birth are unknown, but he was described as a Venetian by contemporaries, including Albrecht Dürer ("van Venedig geporn"), and as 'old and weak' in 1511, so dates of between 1450 and 1470 have been proposed. Some believed that he was actually German-born before moving to Italy. However this belief is not conclusive and remains a hypothesis to researchers. Since the earlier date range would have him achieve sudden prominence at the age of nearly fifty, the later date range would seem more likely. He signed most of his engravings with a caduceus, the sign of Mercury, and the Munich Still-Life with Partridge and Gauntlets (right) with this below his name: "Jac.o de barbarj p 1504" on the painted piece of paper. He was probably not of the important Venetian Barbaro family as he was never listed in that family's genealogy.Nothing is known about his first decades, although Alvise Vivarini has been suggested as his master. He left Venice for Germany in 1500, and thereafter is better documented. There he worked for the Emperor Maximilian I in Nuremberg for a year, then in various places for Frederick the Wise of Saxony in 1503–5, before moving to the court of the Elector Joachim I of Brandenburg for about the years 1506–8. In Germany he was often known as "Jacop Walch", probably from "Wälsch" meaning foreigner, a term especially used for Italians.He may have returned to Venice with Philip the Handsome of Burgundy, for whom he  later worked in the Netherlands. By March 1510 he was working for Philip's successor Archduchess Margaret in Brussels and Mechelen. In January 1511 he fell ill and made a will, and in March the Archduchess gave him a pension for life, on account of his age and weakness ("debilitation et vieillesse"). By 1516 he had died, leaving the Archduchess in possession of twenty-three engraving plates, which since many of his plates were probably engraved on both sides, means some engravings may not have survived.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: In the context of Jacopo de' Barbari, explain the Map of Venice and other woodcuts and the Work.

His earliest documented work is his huge (1.345 x 2.818 metres, from six blocks) and impressive woodcut aerial view Map of Venice, for which a privilege was granted to its publisher in 1500, recording that the work had taken three years. This clearly drew on the work of many surveyors, but was a spectacular feat nonetheless, and caused a considerable stir from the first. It was later updated by others to reflect major new building projects in a second state of the print.Apart from the Map of Venice, he produced two other woodcuts, both of men and satyrs, which were the largest and most impressive figurative woodcuts yet produced, and which established the Italian tradition of fine, large, woodcuts for the following decades. These may have also been produced before 1500; they are clearly strongly influenced by Mantegna.The "Triumph of Men Over Satyrs," completed in the early 16th century was de' Barbari's other notable multi-block print highlighting various themes related to mythology. This three block print represents the scenes just after a battle - nude men and women walk towards a temple, showing the defeated satyrs bound as prisoners and carried in baskets. Multiple scholars such as Juergen Schulz and David Landau have suggested the connection with another woodcut titled, "Battle Between Satyrs and Men," wherein one of the placards in the later piece directly represents the battle scene from de' Barbari's earlier battle. Connections between the architecture of Venice in the background of the print relates to other paintings at the time such as the "Process in St. Mark's Square," completed by Gentile Bellini in 1496.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: Explain the Map of Venice and other woodcuts about the Work of this artwork, Jacopo de' Barbari.

His earliest documented work is his huge (1.345 x 2.818 metres, from six blocks) and impressive woodcut aerial view Map of Venice, for which a privilege was granted to its publisher in 1500, recording that the work had taken three years. This clearly drew on the work of many surveyors, but was a spectacular feat nonetheless, and caused a considerable stir from the first. It was later updated by others to reflect major new building projects in a second state of the print.Apart from the Map of Venice, he produced two other woodcuts, both of men and satyrs, which were the largest and most impressive figurative woodcuts yet produced, and which established the Italian tradition of fine, large, woodcuts for the following decades. These may have also been produced before 1500; they are clearly strongly influenced by Mantegna.The "Triumph of Men Over Satyrs," completed in the early 16th century was de' Barbari's other notable multi-block print highlighting various themes related to mythology. This three block print represents the scenes just after a battle - nude men and women walk towards a temple, showing the defeated satyrs bound as prisoners and carried in baskets. Multiple scholars such as Juergen Schulz and David Landau have suggested the connection with another woodcut titled, "Battle Between Satyrs and Men," wherein one of the placards in the later piece directly represents the battle scene from de' Barbari's earlier battle. Connections between the architecture of Venice in the background of the print relates to other paintings at the time such as the "Process in St. Mark's Square," completed by Gentile Bellini in 1496.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: In Jacopo de' Barbari, how is the Map of Venice and other woodcuts of the Work explained?

His earliest documented work is his huge (1.345 x 2.818 metres, from six blocks) and impressive woodcut aerial view Map of Venice, for which a privilege was granted to its publisher in 1500, recording that the work had taken three years. This clearly drew on the work of many surveyors, but was a spectacular feat nonetheless, and caused a considerable stir from the first. It was later updated by others to reflect major new building projects in a second state of the print.Apart from the Map of Venice, he produced two other woodcuts, both of men and satyrs, which were the largest and most impressive figurative woodcuts yet produced, and which established the Italian tradition of fine, large, woodcuts for the following decades. These may have also been produced before 1500; they are clearly strongly influenced by Mantegna.The "Triumph of Men Over Satyrs," completed in the early 16th century was de' Barbari's other notable multi-block print highlighting various themes related to mythology. This three block print represents the scenes just after a battle - nude men and women walk towards a temple, showing the defeated satyrs bound as prisoners and carried in baskets. Multiple scholars such as Juergen Schulz and David Landau have suggested the connection with another woodcut titled, "Battle Between Satyrs and Men," wherein one of the placards in the later piece directly represents the battle scene from de' Barbari's earlier battle. Connections between the architecture of Venice in the background of the print relates to other paintings at the time such as the "Process in St. Mark's Square," completed by Gentile Bellini in 1496.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: Describe the characteristics of the Map of Venice and other woodcuts in Jacopo de' Barbari's Work.

His earliest documented work is his huge (1.345 x 2.818 metres, from six blocks) and impressive woodcut aerial view Map of Venice, for which a privilege was granted to its publisher in 1500, recording that the work had taken three years. This clearly drew on the work of many surveyors, but was a spectacular feat nonetheless, and caused a considerable stir from the first. It was later updated by others to reflect major new building projects in a second state of the print.Apart from the Map of Venice, he produced two other woodcuts, both of men and satyrs, which were the largest and most impressive figurative woodcuts yet produced, and which established the Italian tradition of fine, large, woodcuts for the following decades. These may have also been produced before 1500; they are clearly strongly influenced by Mantegna.The "Triumph of Men Over Satyrs," completed in the early 16th century was de' Barbari's other notable multi-block print highlighting various themes related to mythology. This three block print represents the scenes just after a battle - nude men and women walk towards a temple, showing the defeated satyrs bound as prisoners and carried in baskets. Multiple scholars such as Juergen Schulz and David Landau have suggested the connection with another woodcut titled, "Battle Between Satyrs and Men," wherein one of the placards in the later piece directly represents the battle scene from de' Barbari's earlier battle. Connections between the architecture of Venice in the background of the print relates to other paintings at the time such as the "Process in St. Mark's Square," completed by Gentile Bellini in 1496.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: In the context of Jacopo de' Barbari, explain the Contacts with Dürer and the Work.

By the time the Map of Venice was published de' Barbari had already left for Germany, where he met Dürer, who he may have already known from Dürer's first Italian trip (a passage in a letter of Dürer's is ambiguous). They discussed human proportion, not obviously one of de' Barbari's strengths, but Dürer was evidently fascinated by what he had to say, though he recorded that de' Barberi had not told him everything he knew:...I find no one who has written anything about how to make canon of human proportions except for a man named Jacob, born in Venice and a charming painter. He showed me a man and a woman which he had made according to measure, so that I would now rather see what he meant than behold a new kingdom... Jacobus did not want to show his principles to me clearly, that I saw well. (From an unpublished draft of the Introduction to Dürer's own book on human proportions)Twenty years later Dürer tried unsuccessfully to get the Archduchess Margaret, Habsburg Regent of the Netherlands, to give him a manuscript book she had on the subject by de' Barbari, by then dead; the book has not survived.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: Explain the Contacts with Dürer about the Work of this artwork, Jacopo de' Barbari.

By the time the Map of Venice was published de' Barbari had already left for Germany, where he met Dürer, who he may have already known from Dürer's first Italian trip (a passage in a letter of Dürer's is ambiguous). They discussed human proportion, not obviously one of de' Barbari's strengths, but Dürer was evidently fascinated by what he had to say, though he recorded that de' Barberi had not told him everything he knew:...I find no one who has written anything about how to make canon of human proportions except for a man named Jacob, born in Venice and a charming painter. He showed me a man and a woman which he had made according to measure, so that I would now rather see what he meant than behold a new kingdom... Jacobus did not want to show his principles to me clearly, that I saw well. (From an unpublished draft of the Introduction to Dürer's own book on human proportions)Twenty years later Dürer tried unsuccessfully to get the Archduchess Margaret, Habsburg Regent of the Netherlands, to give him a manuscript book she had on the subject by de' Barbari, by then dead; the book has not survived.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: In Jacopo de' Barbari, how is the Contacts with Dürer of the Work explained?

By the time the Map of Venice was published de' Barbari had already left for Germany, where he met Dürer, who he may have already known from Dürer's first Italian trip (a passage in a letter of Dürer's is ambiguous). They discussed human proportion, not obviously one of de' Barbari's strengths, but Dürer was evidently fascinated by what he had to say, though he recorded that de' Barberi had not told him everything he knew:...I find no one who has written anything about how to make canon of human proportions except for a man named Jacob, born in Venice and a charming painter. He showed me a man and a woman which he had made according to measure, so that I would now rather see what he meant than behold a new kingdom... Jacobus did not want to show his principles to me clearly, that I saw well. (From an unpublished draft of the Introduction to Dürer's own book on human proportions)Twenty years later Dürer tried unsuccessfully to get the Archduchess Margaret, Habsburg Regent of the Netherlands, to give him a manuscript book she had on the subject by de' Barbari, by then dead; the book has not survived.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: Describe the characteristics of the Contacts with Dürer in Jacopo de' Barbari's Work.

By the time the Map of Venice was published de' Barbari had already left for Germany, where he met Dürer, who he may have already known from Dürer's first Italian trip (a passage in a letter of Dürer's is ambiguous). They discussed human proportion, not obviously one of de' Barbari's strengths, but Dürer was evidently fascinated by what he had to say, though he recorded that de' Barberi had not told him everything he knew:...I find no one who has written anything about how to make canon of human proportions except for a man named Jacob, born in Venice and a charming painter. He showed me a man and a woman which he had made according to measure, so that I would now rather see what he meant than behold a new kingdom... Jacobus did not want to show his principles to me clearly, that I saw well. (From an unpublished draft of the Introduction to Dürer's own book on human proportions)Twenty years later Dürer tried unsuccessfully to get the Archduchess Margaret, Habsburg Regent of the Netherlands, to give him a manuscript book she had on the subject by de' Barbari, by then dead; the book has not survived.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: In the context of Jacopo de' Barbari, explain the Dating of artwork and the Work.

De' Barberi spent a year in Nuremberg, where Dürer lived, in 1500–1, and influences flowed in both directions between him and Dürer for a number of years. None of his engravings are dated, so much of the dating of them depends on resemblances to dated prints by Dürer; this is complicated by uncertainty in some cases as to who was influencing whom. Five of his engravings were in an album of Hartmann Schedel's, which was bound up in December 1504, which gives further evidence as to dating. De' Barberi had probably made some engravings before leaving Italy, but his best engravings (and perhaps all of them) were probably done after his move to Germany in 1500.Some of his paintings are dated as: 1500, 1503, 1504, 1508. Documents relating to his employment by Maximilian suggest his work was to include illuminating manuscripts, but no work in this medium has been generally attributed to him. His only generally accepted drawing is a Cleopatra in the British Museum, apparently done as a study for an engraving which has not survived.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: Explain the Dating of artwork about the Work of this artwork, Jacopo de' Barbari.

De' Barberi spent a year in Nuremberg, where Dürer lived, in 1500–1, and influences flowed in both directions between him and Dürer for a number of years. None of his engravings are dated, so much of the dating of them depends on resemblances to dated prints by Dürer; this is complicated by uncertainty in some cases as to who was influencing whom. Five of his engravings were in an album of Hartmann Schedel's, which was bound up in December 1504, which gives further evidence as to dating. De' Barberi had probably made some engravings before leaving Italy, but his best engravings (and perhaps all of them) were probably done after his move to Germany in 1500.Some of his paintings are dated as: 1500, 1503, 1504, 1508. Documents relating to his employment by Maximilian suggest his work was to include illuminating manuscripts, but no work in this medium has been generally attributed to him. His only generally accepted drawing is a Cleopatra in the British Museum, apparently done as a study for an engraving which has not survived.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: In Jacopo de' Barbari, how is the Dating of artwork of the Work explained?

De' Barberi spent a year in Nuremberg, where Dürer lived, in 1500–1, and influences flowed in both directions between him and Dürer for a number of years. None of his engravings are dated, so much of the dating of them depends on resemblances to dated prints by Dürer; this is complicated by uncertainty in some cases as to who was influencing whom. Five of his engravings were in an album of Hartmann Schedel's, which was bound up in December 1504, which gives further evidence as to dating. De' Barberi had probably made some engravings before leaving Italy, but his best engravings (and perhaps all of them) were probably done after his move to Germany in 1500.Some of his paintings are dated as: 1500, 1503, 1504, 1508. Documents relating to his employment by Maximilian suggest his work was to include illuminating manuscripts, but no work in this medium has been generally attributed to him. His only generally accepted drawing is a Cleopatra in the British Museum, apparently done as a study for an engraving which has not survived.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: Describe the characteristics of the Dating of artwork in Jacopo de' Barbari's Work.

De' Barberi spent a year in Nuremberg, where Dürer lived, in 1500–1, and influences flowed in both directions between him and Dürer for a number of years. None of his engravings are dated, so much of the dating of them depends on resemblances to dated prints by Dürer; this is complicated by uncertainty in some cases as to who was influencing whom. Five of his engravings were in an album of Hartmann Schedel's, which was bound up in December 1504, which gives further evidence as to dating. De' Barberi had probably made some engravings before leaving Italy, but his best engravings (and perhaps all of them) were probably done after his move to Germany in 1500.Some of his paintings are dated as: 1500, 1503, 1504, 1508. Documents relating to his employment by Maximilian suggest his work was to include illuminating manuscripts, but no work in this medium has been generally attributed to him. His only generally accepted drawing is a Cleopatra in the British Museum, apparently done as a study for an engraving which has not survived.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: In the context of Jacopo de' Barbari, explain the Engravings and the Work.

His style is related to his possible master, Alvise Vivarini and to Giovanni Bellini, but has a languorous quality all its own. Apart from Dürer, the influence of Mantegna's technique also appears in what are probably the earlier engravings, done around the turn of the century, with parallel hatching. His engravings are mostly small, showing just a few figures. Truculent satyrs feature in several prints; there are a number of mythological subjects, including two Sacrifices to Priapus.The earlier prints show figures with "small heads and somewhat shapeless bodies, with sloping shoulders and thick torsos supported by slender legs" — also seen in his paintings. Probably from a middle period come several nudes, the most famous being Apollo and Diana, St Sebastian and the Three Bound Captives.  In these his ability to organise the whole composition has greatly improved.In a final group, the style becomes more Italianate, and the compositions more complex. These have an enigmatic, haunting atmosphere, and a very refined technique. Levenson has proposed that they date from his period in the Netherlands and were influenced by the young Lucas van Leyden. The transmission between the Netherlands and Venice during this time was also prominent as both regions were port cities booming with trade. As a result, not only were economies tied to one another, but art as well.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: Explain the Engravings about the Work of this artwork, Jacopo de' Barbari.

His style is related to his possible master, Alvise Vivarini and to Giovanni Bellini, but has a languorous quality all its own. Apart from Dürer, the influence of Mantegna's technique also appears in what are probably the earlier engravings, done around the turn of the century, with parallel hatching. His engravings are mostly small, showing just a few figures. Truculent satyrs feature in several prints; there are a number of mythological subjects, including two Sacrifices to Priapus.The earlier prints show figures with "small heads and somewhat shapeless bodies, with sloping shoulders and thick torsos supported by slender legs" — also seen in his paintings. Probably from a middle period come several nudes, the most famous being Apollo and Diana, St Sebastian and the Three Bound Captives.  In these his ability to organise the whole composition has greatly improved.In a final group, the style becomes more Italianate, and the compositions more complex. These have an enigmatic, haunting atmosphere, and a very refined technique. Levenson has proposed that they date from his period in the Netherlands and were influenced by the young Lucas van Leyden. The transmission between the Netherlands and Venice during this time was also prominent as both regions were port cities booming with trade. As a result, not only were economies tied to one another, but art as well.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: In Jacopo de' Barbari, how is the Engravings of the Work explained?

His style is related to his possible master, Alvise Vivarini and to Giovanni Bellini, but has a languorous quality all its own. Apart from Dürer, the influence of Mantegna's technique also appears in what are probably the earlier engravings, done around the turn of the century, with parallel hatching. His engravings are mostly small, showing just a few figures. Truculent satyrs feature in several prints; there are a number of mythological subjects, including two Sacrifices to Priapus.The earlier prints show figures with "small heads and somewhat shapeless bodies, with sloping shoulders and thick torsos supported by slender legs" — also seen in his paintings. Probably from a middle period come several nudes, the most famous being Apollo and Diana, St Sebastian and the Three Bound Captives.  In these his ability to organise the whole composition has greatly improved.In a final group, the style becomes more Italianate, and the compositions more complex. These have an enigmatic, haunting atmosphere, and a very refined technique. Levenson has proposed that they date from his period in the Netherlands and were influenced by the young Lucas van Leyden. The transmission between the Netherlands and Venice during this time was also prominent as both regions were port cities booming with trade. As a result, not only were economies tied to one another, but art as well.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: Describe the characteristics of the Engravings in Jacopo de' Barbari's Work.

His style is related to his possible master, Alvise Vivarini and to Giovanni Bellini, but has a languorous quality all its own. Apart from Dürer, the influence of Mantegna's technique also appears in what are probably the earlier engravings, done around the turn of the century, with parallel hatching. His engravings are mostly small, showing just a few figures. Truculent satyrs feature in several prints; there are a number of mythological subjects, including two Sacrifices to Priapus.The earlier prints show figures with "small heads and somewhat shapeless bodies, with sloping shoulders and thick torsos supported by slender legs" — also seen in his paintings. Probably from a middle period come several nudes, the most famous being Apollo and Diana, St Sebastian and the Three Bound Captives.  In these his ability to organise the whole composition has greatly improved.In a final group, the style becomes more Italianate, and the compositions more complex. These have an enigmatic, haunting atmosphere, and a very refined technique. Levenson has proposed that they date from his period in the Netherlands and were influenced by the young Lucas van Leyden. The transmission between the Netherlands and Venice during this time was also prominent as both regions were port cities booming with trade. As a result, not only were economies tied to one another, but art as well.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: In the context of Jacopo de' Barbari, explain the Paintings and the Work.

His paintings are mostly portraits or half-length groups of religious figures. He painted a live Sparrowhawk(National Gallery, London), which is probably a fragment of a larger work. The very early still-life of a Still-Life with Partridge and Gauntlets (Alte Pinakothek, Munich) is often called the first small scale trompe-l'œil painting since antiquity; it may well have been the cover or reverse of a portrait (however, a fragmentary panel by another Venetian, Vittorio Carpaccio, has a trompe-l'œil letter-rack of about 1490 on the reverse). In the Gemäldegalerie, Berlin there is a Portrait of a German Man and a religious subject. The Louvre has a religious group, and Philadelphia a pair of figures.A disputed but famous work, the Portrait of Fra Luca Pacioli is in the Museo di Capodimonte in Naples. This shows the Franciscan mathematician and expert on perspective demonstrating geometry at a table on which lie his own Summa and a work by Euclid. He is accompanied by a not clearly identified student. The work is signed "IACO. BAR VIGEN/NIS 1495". Jacopo de' Barbari is attributed a Christ Blessing displayed at the Snite Museum of Art in Notre Dame University, Indiana.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: Explain the Paintings about the Work of this artwork, Jacopo de' Barbari.

His paintings are mostly portraits or half-length groups of religious figures. He painted a live Sparrowhawk(National Gallery, London), which is probably a fragment of a larger work. The very early still-life of a Still-Life with Partridge and Gauntlets (Alte Pinakothek, Munich) is often called the first small scale trompe-l'œil painting since antiquity; it may well have been the cover or reverse of a portrait (however, a fragmentary panel by another Venetian, Vittorio Carpaccio, has a trompe-l'œil letter-rack of about 1490 on the reverse). In the Gemäldegalerie, Berlin there is a Portrait of a German Man and a religious subject. The Louvre has a religious group, and Philadelphia a pair of figures.A disputed but famous work, the Portrait of Fra Luca Pacioli is in the Museo di Capodimonte in Naples. This shows the Franciscan mathematician and expert on perspective demonstrating geometry at a table on which lie his own Summa and a work by Euclid. He is accompanied by a not clearly identified student. The work is signed "IACO. BAR VIGEN/NIS 1495". Jacopo de' Barbari is attributed a Christ Blessing displayed at the Snite Museum of Art in Notre Dame University, Indiana.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: In Jacopo de' Barbari, how is the Paintings of the Work explained?

His paintings are mostly portraits or half-length groups of religious figures. He painted a live Sparrowhawk(National Gallery, London), which is probably a fragment of a larger work. The very early still-life of a Still-Life with Partridge and Gauntlets (Alte Pinakothek, Munich) is often called the first small scale trompe-l'œil painting since antiquity; it may well have been the cover or reverse of a portrait (however, a fragmentary panel by another Venetian, Vittorio Carpaccio, has a trompe-l'œil letter-rack of about 1490 on the reverse). In the Gemäldegalerie, Berlin there is a Portrait of a German Man and a religious subject. The Louvre has a religious group, and Philadelphia a pair of figures.A disputed but famous work, the Portrait of Fra Luca Pacioli is in the Museo di Capodimonte in Naples. This shows the Franciscan mathematician and expert on perspective demonstrating geometry at a table on which lie his own Summa and a work by Euclid. He is accompanied by a not clearly identified student. The work is signed "IACO. BAR VIGEN/NIS 1495". Jacopo de' Barbari is attributed a Christ Blessing displayed at the Snite Museum of Art in Notre Dame University, Indiana.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Jacopo de' Barbari

Prompt: Describe the characteristics of the Paintings in Jacopo de' Barbari's Work.

His paintings are mostly portraits or half-length groups of religious figures. He painted a live Sparrowhawk(National Gallery, London), which is probably a fragment of a larger work. The very early still-life of a Still-Life with Partridge and Gauntlets (Alte Pinakothek, Munich) is often called the first small scale trompe-l'œil painting since antiquity; it may well have been the cover or reverse of a portrait (however, a fragmentary panel by another Venetian, Vittorio Carpaccio, has a trompe-l'œil letter-rack of about 1490 on the reverse). In the Gemäldegalerie, Berlin there is a Portrait of a German Man and a religious subject. The Louvre has a religious group, and Philadelphia a pair of figures.A disputed but famous work, the Portrait of Fra Luca Pacioli is in the Museo di Capodimonte in Naples. This shows the Franciscan mathematician and expert on perspective demonstrating geometry at a table on which lie his own Summa and a work by Euclid. He is accompanied by a not clearly identified student. The work is signed "IACO. BAR VIGEN/NIS 1495". Jacopo de' Barbari is attributed a Christ Blessing displayed at the Snite Museum of Art in Notre Dame University, Indiana.

File:Jacopo de' Barbari - Victory Reclining Amid Trophies (Minneapolis Institute of Art).jpg

''[[Still-Life with Partridge and Gauntlets

Category:Painters from the Republic of Venice

''Victory Reclining Amid Trophies'', engraving, c. 1510.

Joachim I Nestor, Elector of Brandenburg


Salon des Refusés

Prompt: Focus on Salon des Refusés and explain the abstract.

The Salon des Refusés, French for "exhibition of rejects" (French pronunciation: [salɔ̃ de ʁəfyze]), is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: Explain the abstract of this artwork, Salon des Refusés.

The Salon des Refusés, French for "exhibition of rejects" (French pronunciation: [salɔ̃ de ʁəfyze]), is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: How does Salon des Refusés explain its abstract?

The Salon des Refusés, French for "exhibition of rejects" (French pronunciation: [salɔ̃ de ʁəfyze]), is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: In Salon des Refusés, how is the abstract discussed?

The Salon des Refusés, French for "exhibition of rejects" (French pronunciation: [salɔ̃ de ʁəfyze]), is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: Focus on Salon des Refusés and explain the Background of the Salon of 1863.

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was an exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: Explain the Background of the Salon of 1863 of this artwork, Salon des Refusés.

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was an exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: How does Salon des Refusés explain its Background of the Salon of 1863?

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was an exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.

File:Palais de l'Industrie - Édouard Baldus.jpg


Salon des Refusés

Prompt: In Salon des Refusés, how is the Background of the Salon of 1863 discussed?

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was an exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.

File:Palais de l'Industrie - Édouard Baldus.jpg