Wikipedia Monument

Prompt: In Wikipedia Monument, how is the Description discussed?

The monument depicts four nude figures holding aloft a globe based on the Wikipedia logo, reaching over two metres (6 ft 7 in) up. The fiber-and-resin statue was designed by Armenian-born artist Mihran Hakobyan, who graduated from Collegium Polonicum. It cost about 50,000 złotys (approximately $13,500; €11,700) and was funded by Słubice regional authorities. The monument has the following inscription:With this monument the citizens of Słubice would like to pay homage to thousands of anonymous editors all over the world, who have contributed voluntarily to the creation of Wikipedia, the greatest project co-created by people regardless of political, religious or cultural borders. In the year this monument is unveiled Wikipedia is available in more than 280 languages and contains about 30 million articles. The benefactors behind this monument feel certain that with Wikipedia as one of its pillars the knowledge society will be able to contribute to the sustainable development of our civilization, social justice and peace among nations.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips

Common Knowledge? An Ethnography of Wikipedia


Wikipedia Monument

Prompt: Focus on Wikipedia Monument and explain the History.

The monument was suggested around 2010 by Krzysztof Wojciechowski, a university professor and director of the Collegium Polonicum in Słubice. Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial "will highlight the town's importance as an academic centre". A Wikimedia Polska representative stated that the organization hopes that this project will "raise awareness of the website and encourage people to contribute."It was unveiled on 22 October 2014, on the Plac Frankfurcki, becoming the world's first monument to the online encyclopedia. Representatives from the Wikimedia Foundation as well as from the Wikimedia chapters for Poland and Germany (Wikimedia Polska and Wikimedia Deutschland, respectively) attended the dedication ceremony. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address.When Wikipedia started back in 2001 I have to say that I never imagined a day when Wikipedia would be honored with a monument – we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips


Wikipedia Monument

Prompt: Explain the History of this artwork, Wikipedia Monument.

The monument was suggested around 2010 by Krzysztof Wojciechowski, a university professor and director of the Collegium Polonicum in Słubice. Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial "will highlight the town's importance as an academic centre". A Wikimedia Polska representative stated that the organization hopes that this project will "raise awareness of the website and encourage people to contribute."It was unveiled on 22 October 2014, on the Plac Frankfurcki, becoming the world's first monument to the online encyclopedia. Representatives from the Wikimedia Foundation as well as from the Wikimedia chapters for Poland and Germany (Wikimedia Polska and Wikimedia Deutschland, respectively) attended the dedication ceremony. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address.When Wikipedia started back in 2001 I have to say that I never imagined a day when Wikipedia would be honored with a monument – we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips


Wikipedia Monument

Prompt: How does Wikipedia Monument explain its History?

The monument was suggested around 2010 by Krzysztof Wojciechowski, a university professor and director of the Collegium Polonicum in Słubice. Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial "will highlight the town's importance as an academic centre". A Wikimedia Polska representative stated that the organization hopes that this project will "raise awareness of the website and encourage people to contribute."It was unveiled on 22 October 2014, on the Plac Frankfurcki, becoming the world's first monument to the online encyclopedia. Representatives from the Wikimedia Foundation as well as from the Wikimedia chapters for Poland and Germany (Wikimedia Polska and Wikimedia Deutschland, respectively) attended the dedication ceremony. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address.When Wikipedia started back in 2001 I have to say that I never imagined a day when Wikipedia would be honored with a monument – we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips


Wikipedia Monument

Prompt: In Wikipedia Monument, how is the History discussed?

The monument was suggested around 2010 by Krzysztof Wojciechowski, a university professor and director of the Collegium Polonicum in Słubice. Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial "will highlight the town's importance as an academic centre". A Wikimedia Polska representative stated that the organization hopes that this project will "raise awareness of the website and encourage people to contribute."It was unveiled on 22 October 2014, on the Plac Frankfurcki, becoming the world's first monument to the online encyclopedia. Representatives from the Wikimedia Foundation as well as from the Wikimedia chapters for Poland and Germany (Wikimedia Polska and Wikimedia Deutschland, respectively) attended the dedication ceremony. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address.When Wikipedia started back in 2001 I have to say that I never imagined a day when Wikipedia would be honored with a monument – we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.

Category:Monuments and memorials in Poland

File:Wikipedia sculpture Poland Slubice.jpg

Category:Articles containing video clips


Netherlandish Proverbs

Prompt: Focus on Netherlandish Proverbs and explain the abstract.

Netherlandish Proverbs (Dutch: Nederlandse Spreekwoorden; also called Flemish Proverbs, The Blue Cloak or The Topsy Turvy World) is a 1559 oil-on-oak-panel painting by Pieter Bruegel the Elder that depicts a scene in which humans and, to a lesser extent, animals and objects, offer literal illustrations of Dutch-language proverbs and idioms.Running themes in Bruegel's paintings that appear in Netherlandish Proverbs are the absurdity, wickedness and foolishness of humans. Its original title, The Blue Cloak or The Folly of the World, indicates that Bruegel's intent was not just to illustrate proverbs, but rather to catalogue human folly. Many of the people depicted show the characteristic blank features that Bruegel used to portray fools.His son, Pieter Brueghel the Younger, specialised in making copies of his father's work and painted at least 16 copies of Netherlandish Proverbs. Not all versions of the painting, by father or son, show exactly the same proverbs and they also differ in other minor details. The original work by Bruegel the Elder is in the collection of the Gemäldegalerie, Berlin, with the copies in numerous other collections (see below).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Explain the abstract of this artwork, Netherlandish Proverbs.

Netherlandish Proverbs (Dutch: Nederlandse Spreekwoorden; also called Flemish Proverbs, The Blue Cloak or The Topsy Turvy World) is a 1559 oil-on-oak-panel painting by Pieter Bruegel the Elder that depicts a scene in which humans and, to a lesser extent, animals and objects, offer literal illustrations of Dutch-language proverbs and idioms.Running themes in Bruegel's paintings that appear in Netherlandish Proverbs are the absurdity, wickedness and foolishness of humans. Its original title, The Blue Cloak or The Folly of the World, indicates that Bruegel's intent was not just to illustrate proverbs, but rather to catalogue human folly. Many of the people depicted show the characteristic blank features that Bruegel used to portray fools.His son, Pieter Brueghel the Younger, specialised in making copies of his father's work and painted at least 16 copies of Netherlandish Proverbs. Not all versions of the painting, by father or son, show exactly the same proverbs and they also differ in other minor details. The original work by Bruegel the Elder is in the collection of the Gemäldegalerie, Berlin, with the copies in numerous other collections (see below).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: How does Netherlandish Proverbs explain its abstract?

Netherlandish Proverbs (Dutch: Nederlandse Spreekwoorden; also called Flemish Proverbs, The Blue Cloak or The Topsy Turvy World) is a 1559 oil-on-oak-panel painting by Pieter Bruegel the Elder that depicts a scene in which humans and, to a lesser extent, animals and objects, offer literal illustrations of Dutch-language proverbs and idioms.Running themes in Bruegel's paintings that appear in Netherlandish Proverbs are the absurdity, wickedness and foolishness of humans. Its original title, The Blue Cloak or The Folly of the World, indicates that Bruegel's intent was not just to illustrate proverbs, but rather to catalogue human folly. Many of the people depicted show the characteristic blank features that Bruegel used to portray fools.His son, Pieter Brueghel the Younger, specialised in making copies of his father's work and painted at least 16 copies of Netherlandish Proverbs. Not all versions of the painting, by father or son, show exactly the same proverbs and they also differ in other minor details. The original work by Bruegel the Elder is in the collection of the Gemäldegalerie, Berlin, with the copies in numerous other collections (see below).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: In Netherlandish Proverbs, how is the abstract discussed?

Netherlandish Proverbs (Dutch: Nederlandse Spreekwoorden; also called Flemish Proverbs, The Blue Cloak or The Topsy Turvy World) is a 1559 oil-on-oak-panel painting by Pieter Bruegel the Elder that depicts a scene in which humans and, to a lesser extent, animals and objects, offer literal illustrations of Dutch-language proverbs and idioms.Running themes in Bruegel's paintings that appear in Netherlandish Proverbs are the absurdity, wickedness and foolishness of humans. Its original title, The Blue Cloak or The Folly of the World, indicates that Bruegel's intent was not just to illustrate proverbs, but rather to catalogue human folly. Many of the people depicted show the characteristic blank features that Bruegel used to portray fools.His son, Pieter Brueghel the Younger, specialised in making copies of his father's work and painted at least 16 copies of Netherlandish Proverbs. Not all versions of the painting, by father or son, show exactly the same proverbs and they also differ in other minor details. The original work by Bruegel the Elder is in the collection of the Gemäldegalerie, Berlin, with the copies in numerous other collections (see below).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: In the context of Netherlandish Proverbs, explain the Context and the History.

Proverbs were very popular in Bruegel's time and before; a hundred years before Bruegel's painting, illustrations of proverbs had been popular in the Flemish books of hours. A number of collections were published, including Adagia, by the Dutch humanist Desiderius Erasmus. The French writer François Rabelais employed significant numbers in his novel Gargantua and Pantagruel, completed in 1564.The Flemish artist Frans Hogenberg made an engraving illustrating 43 proverbs in around 1558, roughly the same time as Bruegel's painting. The work is very similar in composition to Bruegel's and includes certain proverbs (like the Blue Cloak) which also feature prominently in Netherlandish Proverbs. By depicting literal renditions of proverbs in a peasant setting, both artists have shown a "world turned upside down".Bruegel himself had painted several minor paintings on the subject of proverbs including Big Fish Eat Little Fish (1556) and Twelve Proverbs (1558), but Netherlandish Proverbs is thought to have been his first large-scale painting on the theme.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Explain the Context about the History of this artwork, Netherlandish Proverbs.

Proverbs were very popular in Bruegel's time and before; a hundred years before Bruegel's painting, illustrations of proverbs had been popular in the Flemish books of hours. A number of collections were published, including Adagia, by the Dutch humanist Desiderius Erasmus. The French writer François Rabelais employed significant numbers in his novel Gargantua and Pantagruel, completed in 1564.The Flemish artist Frans Hogenberg made an engraving illustrating 43 proverbs in around 1558, roughly the same time as Bruegel's painting. The work is very similar in composition to Bruegel's and includes certain proverbs (like the Blue Cloak) which also feature prominently in Netherlandish Proverbs. By depicting literal renditions of proverbs in a peasant setting, both artists have shown a "world turned upside down".Bruegel himself had painted several minor paintings on the subject of proverbs including Big Fish Eat Little Fish (1556) and Twelve Proverbs (1558), but Netherlandish Proverbs is thought to have been his first large-scale painting on the theme.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: In Netherlandish Proverbs, how is the Context of the History explained?

Proverbs were very popular in Bruegel's time and before; a hundred years before Bruegel's painting, illustrations of proverbs had been popular in the Flemish books of hours. A number of collections were published, including Adagia, by the Dutch humanist Desiderius Erasmus. The French writer François Rabelais employed significant numbers in his novel Gargantua and Pantagruel, completed in 1564.The Flemish artist Frans Hogenberg made an engraving illustrating 43 proverbs in around 1558, roughly the same time as Bruegel's painting. The work is very similar in composition to Bruegel's and includes certain proverbs (like the Blue Cloak) which also feature prominently in Netherlandish Proverbs. By depicting literal renditions of proverbs in a peasant setting, both artists have shown a "world turned upside down".Bruegel himself had painted several minor paintings on the subject of proverbs including Big Fish Eat Little Fish (1556) and Twelve Proverbs (1558), but Netherlandish Proverbs is thought to have been his first large-scale painting on the theme.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Describe the characteristics of the Context in Netherlandish Proverbs's History.

Proverbs were very popular in Bruegel's time and before; a hundred years before Bruegel's painting, illustrations of proverbs had been popular in the Flemish books of hours. A number of collections were published, including Adagia, by the Dutch humanist Desiderius Erasmus. The French writer François Rabelais employed significant numbers in his novel Gargantua and Pantagruel, completed in 1564.The Flemish artist Frans Hogenberg made an engraving illustrating 43 proverbs in around 1558, roughly the same time as Bruegel's painting. The work is very similar in composition to Bruegel's and includes certain proverbs (like the Blue Cloak) which also feature prominently in Netherlandish Proverbs. By depicting literal renditions of proverbs in a peasant setting, both artists have shown a "world turned upside down".Bruegel himself had painted several minor paintings on the subject of proverbs including Big Fish Eat Little Fish (1556) and Twelve Proverbs (1558), but Netherlandish Proverbs is thought to have been his first large-scale painting on the theme.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Focus on Netherlandish Proverbs and explain the The painting.

The painting, dated 1559, is considered the best of a series of similar paintings which at one time or other have all previously been attributed to Pieter Bruegel the Elder, has been x-rayed for its underdrawing to compare it to other versions. None of the versions have a provenance going back further than the late 19th-century, but Bruegel scholars believe that the paintings are the elder Bruegel's inventions, which all make use of a life-size cartoon with the same underdrawing as that used in the Berlin version. The paintings, which are not inscribed, tease the viewer into guessing proverbs. They are based on 1558 and earlier engravings that are inscribed, in Flemish. The most notable of these regarding the paintings is by Frans Hogenberg, and it is dated 1558 and accompanied by the title Die blau huicke is dit meest ghenaemt, maer des weerelts abvisen he beter betaempt (English: Often called 'The Blue Cloak', this could better be called 'The World's Follies'). The Doetecum brothers produced a print series in 1577 called De Blauwe Huyck. Theodoor Galle also made a print, dated later, with a similar title: Dese wtbeeldinghe wort die blauw hvyck genaemt, maer deze werelts abvysen haer beter betaemt.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Explain the The painting of this artwork, Netherlandish Proverbs.

The painting, dated 1559, is considered the best of a series of similar paintings which at one time or other have all previously been attributed to Pieter Bruegel the Elder, has been x-rayed for its underdrawing to compare it to other versions. None of the versions have a provenance going back further than the late 19th-century, but Bruegel scholars believe that the paintings are the elder Bruegel's inventions, which all make use of a life-size cartoon with the same underdrawing as that used in the Berlin version. The paintings, which are not inscribed, tease the viewer into guessing proverbs. They are based on 1558 and earlier engravings that are inscribed, in Flemish. The most notable of these regarding the paintings is by Frans Hogenberg, and it is dated 1558 and accompanied by the title Die blau huicke is dit meest ghenaemt, maer des weerelts abvisen he beter betaempt (English: Often called 'The Blue Cloak', this could better be called 'The World's Follies'). The Doetecum brothers produced a print series in 1577 called De Blauwe Huyck. Theodoor Galle also made a print, dated later, with a similar title: Dese wtbeeldinghe wort die blauw hvyck genaemt, maer deze werelts abvysen haer beter betaemt.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: How does Netherlandish Proverbs explain its The painting?

The painting, dated 1559, is considered the best of a series of similar paintings which at one time or other have all previously been attributed to Pieter Bruegel the Elder, has been x-rayed for its underdrawing to compare it to other versions. None of the versions have a provenance going back further than the late 19th-century, but Bruegel scholars believe that the paintings are the elder Bruegel's inventions, which all make use of a life-size cartoon with the same underdrawing as that used in the Berlin version. The paintings, which are not inscribed, tease the viewer into guessing proverbs. They are based on 1558 and earlier engravings that are inscribed, in Flemish. The most notable of these regarding the paintings is by Frans Hogenberg, and it is dated 1558 and accompanied by the title Die blau huicke is dit meest ghenaemt, maer des weerelts abvisen he beter betaempt (English: Often called 'The Blue Cloak', this could better be called 'The World's Follies'). The Doetecum brothers produced a print series in 1577 called De Blauwe Huyck. Theodoor Galle also made a print, dated later, with a similar title: Dese wtbeeldinghe wort die blauw hvyck genaemt, maer deze werelts abvysen haer beter betaemt.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: In Netherlandish Proverbs, how is the The painting discussed?

The painting, dated 1559, is considered the best of a series of similar paintings which at one time or other have all previously been attributed to Pieter Bruegel the Elder, has been x-rayed for its underdrawing to compare it to other versions. None of the versions have a provenance going back further than the late 19th-century, but Bruegel scholars believe that the paintings are the elder Bruegel's inventions, which all make use of a life-size cartoon with the same underdrawing as that used in the Berlin version. The paintings, which are not inscribed, tease the viewer into guessing proverbs. They are based on 1558 and earlier engravings that are inscribed, in Flemish. The most notable of these regarding the paintings is by Frans Hogenberg, and it is dated 1558 and accompanied by the title Die blau huicke is dit meest ghenaemt, maer des weerelts abvisen he beter betaempt (English: Often called 'The Blue Cloak', this could better be called 'The World's Follies'). The Doetecum brothers produced a print series in 1577 called De Blauwe Huyck. Theodoor Galle also made a print, dated later, with a similar title: Dese wtbeeldinghe wort die blauw hvyck genaemt, maer deze werelts abvysen haer beter betaemt.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Focus on Netherlandish Proverbs and explain the Proverbs and idioms.

Critics have praised the composition for its ordered portrayal and integrated scene. There are approximately 126 identifiable proverbs and idioms in the scene, although Bruegel may have included others which cannot be determined because of the language change. Some of those incorporated in the painting are still in popular use, for instance "Swimming against the tide", "Banging one's head against a brick wall" and "Armed to the teeth". Many more have faded from use, which makes analysis of the painting harder. "Having one's roof tiled with tarts", for example, which meant to have an abundance of everything and was an image Bruegel would later feature in his painting of the idyllic Land of Cockaigne (1567).The Blue Cloak, the piece's original title, features in the centre of the piece and is being placed on a man by his wife, indicating that she is cuckolding him. Other proverbs indicate human foolishness. A man fills in a pond after his calf has died. Just above the central figure of the blue-cloaked man, another man carries daylight in a basket. Some of the figures seem to represent more than one figure of speech (whether this was Bruegel's intention or not is unknown), such as the man shearing a sheep in the centre bottom left of the picture. He is sitting next to a man shearing a pig, so represents the expression "One shears sheep and one shears pigs", meaning that one has the advantage over the other, but may also represent the advice "Shear them but don't skin them", meaning make the most of available assets.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Explain the Proverbs and idioms of this artwork, Netherlandish Proverbs.

Critics have praised the composition for its ordered portrayal and integrated scene. There are approximately 126 identifiable proverbs and idioms in the scene, although Bruegel may have included others which cannot be determined because of the language change. Some of those incorporated in the painting are still in popular use, for instance "Swimming against the tide", "Banging one's head against a brick wall" and "Armed to the teeth". Many more have faded from use, which makes analysis of the painting harder. "Having one's roof tiled with tarts", for example, which meant to have an abundance of everything and was an image Bruegel would later feature in his painting of the idyllic Land of Cockaigne (1567).The Blue Cloak, the piece's original title, features in the centre of the piece and is being placed on a man by his wife, indicating that she is cuckolding him. Other proverbs indicate human foolishness. A man fills in a pond after his calf has died. Just above the central figure of the blue-cloaked man, another man carries daylight in a basket. Some of the figures seem to represent more than one figure of speech (whether this was Bruegel's intention or not is unknown), such as the man shearing a sheep in the centre bottom left of the picture. He is sitting next to a man shearing a pig, so represents the expression "One shears sheep and one shears pigs", meaning that one has the advantage over the other, but may also represent the advice "Shear them but don't skin them", meaning make the most of available assets.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: How does Netherlandish Proverbs explain its Proverbs and idioms?

Critics have praised the composition for its ordered portrayal and integrated scene. There are approximately 126 identifiable proverbs and idioms in the scene, although Bruegel may have included others which cannot be determined because of the language change. Some of those incorporated in the painting are still in popular use, for instance "Swimming against the tide", "Banging one's head against a brick wall" and "Armed to the teeth". Many more have faded from use, which makes analysis of the painting harder. "Having one's roof tiled with tarts", for example, which meant to have an abundance of everything and was an image Bruegel would later feature in his painting of the idyllic Land of Cockaigne (1567).The Blue Cloak, the piece's original title, features in the centre of the piece and is being placed on a man by his wife, indicating that she is cuckolding him. Other proverbs indicate human foolishness. A man fills in a pond after his calf has died. Just above the central figure of the blue-cloaked man, another man carries daylight in a basket. Some of the figures seem to represent more than one figure of speech (whether this was Bruegel's intention or not is unknown), such as the man shearing a sheep in the centre bottom left of the picture. He is sitting next to a man shearing a pig, so represents the expression "One shears sheep and one shears pigs", meaning that one has the advantage over the other, but may also represent the advice "Shear them but don't skin them", meaning make the most of available assets.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: In Netherlandish Proverbs, how is the Proverbs and idioms discussed?

Critics have praised the composition for its ordered portrayal and integrated scene. There are approximately 126 identifiable proverbs and idioms in the scene, although Bruegel may have included others which cannot be determined because of the language change. Some of those incorporated in the painting are still in popular use, for instance "Swimming against the tide", "Banging one's head against a brick wall" and "Armed to the teeth". Many more have faded from use, which makes analysis of the painting harder. "Having one's roof tiled with tarts", for example, which meant to have an abundance of everything and was an image Bruegel would later feature in his painting of the idyllic Land of Cockaigne (1567).The Blue Cloak, the piece's original title, features in the centre of the piece and is being placed on a man by his wife, indicating that she is cuckolding him. Other proverbs indicate human foolishness. A man fills in a pond after his calf has died. Just above the central figure of the blue-cloaked man, another man carries daylight in a basket. Some of the figures seem to represent more than one figure of speech (whether this was Bruegel's intention or not is unknown), such as the man shearing a sheep in the centre bottom left of the picture. He is sitting next to a man shearing a pig, so represents the expression "One shears sheep and one shears pigs", meaning that one has the advantage over the other, but may also represent the advice "Shear them but don't skin them", meaning make the most of available assets.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Focus on Netherlandish Proverbs and explain the Inspiration for other paintings.

T. E. Breitenbach's 1975 painting Proverbidioms was inspired by this Dutch painting to depict English proverbs and idioms.A 2014 illustration from the Hong Kong magazine Passion Times illustrates dozens of Cantonese proverbs.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Explain the Inspiration for other paintings of this artwork, Netherlandish Proverbs.

T. E. Breitenbach's 1975 painting Proverbidioms was inspired by this Dutch painting to depict English proverbs and idioms.A 2014 illustration from the Hong Kong magazine Passion Times illustrates dozens of Cantonese proverbs.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: How does Netherlandish Proverbs explain its Inspiration for other paintings?

T. E. Breitenbach's 1975 painting Proverbidioms was inspired by this Dutch painting to depict English proverbs and idioms.A 2014 illustration from the Hong Kong magazine Passion Times illustrates dozens of Cantonese proverbs.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: In Netherlandish Proverbs, how is the Inspiration for other paintings discussed?

T. E. Breitenbach's 1975 painting Proverbidioms was inspired by this Dutch painting to depict English proverbs and idioms.A 2014 illustration from the Hong Kong magazine Passion Times illustrates dozens of Cantonese proverbs.

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Focus on Netherlandish Proverbs and explain the In popular culture.

The painting is featured on the album cover of Fleet Foxes self-titled first full-length album (2008).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: Explain the In popular culture of this artwork, Netherlandish Proverbs.

The painting is featured on the album cover of Fleet Foxes self-titled first full-length album (2008).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: How does Netherlandish Proverbs explain its In popular culture?

The painting is featured on the album cover of Fleet Foxes self-titled first full-length album (2008).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


Netherlandish Proverbs

Prompt: In Netherlandish Proverbs, how is the In popular culture discussed?

The painting is featured on the album cover of Fleet Foxes self-titled first full-length album (2008).

Category:Paintings in the Gemäldegalerie, Berlin

List of paintings by Pieter Bruegel the Elder

Category:Paintings by Pieter Bruegel the Elder


A Bar at the Folies-Bergère

Prompt: Focus on A Bar at the Folies-Bergère and explain the abstract.

A Bar at the Folies-Bergère (French: Un bar aux Folies Bergère) is a painting by Édouard Manet, considered to be his last major work. It was painted in 1882 and exhibited at the Paris Salon of that year. It depicts a scene in the Folies Bergère nightclub in Paris. The painting originally belonged to the composer Emmanuel Chabrier, a close friend of Manet, and hung over his piano. It is now in the Courtauld Gallery in London.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


A Bar at the Folies-Bergère

Prompt: Explain the abstract of this artwork, A Bar at the Folies-Bergère.

A Bar at the Folies-Bergère (French: Un bar aux Folies Bergère) is a painting by Édouard Manet, considered to be his last major work. It was painted in 1882 and exhibited at the Paris Salon of that year. It depicts a scene in the Folies Bergère nightclub in Paris. The painting originally belonged to the composer Emmanuel Chabrier, a close friend of Manet, and hung over his piano. It is now in the Courtauld Gallery in London.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


A Bar at the Folies-Bergère

Prompt: How does A Bar at the Folies-Bergère explain its abstract?

A Bar at the Folies-Bergère (French: Un bar aux Folies Bergère) is a painting by Édouard Manet, considered to be his last major work. It was painted in 1882 and exhibited at the Paris Salon of that year. It depicts a scene in the Folies Bergère nightclub in Paris. The painting originally belonged to the composer Emmanuel Chabrier, a close friend of Manet, and hung over his piano. It is now in the Courtauld Gallery in London.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


A Bar at the Folies-Bergère

Prompt: In A Bar at the Folies-Bergère, how is the abstract discussed?

A Bar at the Folies-Bergère (French: Un bar aux Folies Bergère) is a painting by Édouard Manet, considered to be his last major work. It was painted in 1882 and exhibited at the Paris Salon of that year. It depicts a scene in the Folies Bergère nightclub in Paris. The painting originally belonged to the composer Emmanuel Chabrier, a close friend of Manet, and hung over his piano. It is now in the Courtauld Gallery in London.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


A Bar at the Folies-Bergère

Prompt: Focus on A Bar at the Folies-Bergère and explain the Painting.

The painting exemplifies Manet's commitment to realism in its detailed representation of a contemporary scene. Many features have puzzled critics but almost all of them have been shown to have a rationale, and the painting has been the subject of numerous popular and scholarly articles.The central figure stands before a mirror, although critics—accusing Manet of ignorance of perspective and alleging various impossibilities in the painting—have debated this point since the earliest reviews were published. In 2000, however, a photograph taken from a suitable point of view of a staged reconstruction was shown to reproduce the scene as painted by Manet. According to this reconstruction, "the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter's field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her." As it appears, the observer should be standing to the right and closer to the bar than the man whose reflection appears at the right edge of the picture. This is an unusual departure from the central point of view usually assumed when viewing pictures drawn according to perspective.Asserting the presence of the mirror has been crucial for many modern interpreters. It provides a meaningful parallel with Las Meninas, a masterpiece by an artist Manet admired, Diego Velázquez. There has been a considerable development of this topic since Michel Foucault broached it in his book The Order of Things (1966).The art historian Jeffrey Meyers describes the intentional play on perspective and the apparent violation of the operations of mirrors: "Behind her, and extending for the entire length of the four-and-a-quarter-foot painting, is the gold frame of an enormous mirror. The French philosopher Maurice Merleau-Ponty has called a mirror 'the instrument of a universal magic that changes things into spectacles, spectacles into things, me into others, and others into me.' We, the viewers, stand opposite the barmaid on the other side of the counter and, looking at the reflection in the mirror, see exactly what she sees... A critic has noted that Manet's 'preliminary study shows her placed off to the right, whereas in the finished canvas she is very much the centre of attention.' Though Manet shifted her from the right to the center, he kept her reflection on the right. Seen in the mirror, she seems engaged with a customer; in full face, she's self-protectively withdrawn and remote."The painting is rich in details which provide clues to social class and milieu. The woman at the bar is a real person, known as Suzon, who worked at the Folies-Bergère in the early 1880s. For his painting, Manet posed her in his studio. By including a dish of oranges in the foreground, Manet identifies the barmaid as a prostitute, according to art historian Larry L. Ligo, who says that Manet habitually associated oranges with prostitution in his paintings. T. J. Clark says that the barmaid is "intended to represent one of the prostitutes for which the Folies-Bergère was well-known", who is represented "as both a salesperson and a commodity—something to be purchased along with a drink."Other notable details include the pair of green feet in the upper left-hand corner, which belong to a trapeze artist who is performing above the restaurant's patrons. The beer bottles depicted are easily identified by the red triangle on the label as Bass Pale Ale, and the conspicuous presence of this British brand instead of German beer has been interpreted as documentation of anti-German sentiment in France in the decade after the Franco-Prussian War.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


A Bar at the Folies-Bergère

Prompt: Explain the Painting of this artwork, A Bar at the Folies-Bergère.

The painting exemplifies Manet's commitment to realism in its detailed representation of a contemporary scene. Many features have puzzled critics but almost all of them have been shown to have a rationale, and the painting has been the subject of numerous popular and scholarly articles.The central figure stands before a mirror, although critics—accusing Manet of ignorance of perspective and alleging various impossibilities in the painting—have debated this point since the earliest reviews were published. In 2000, however, a photograph taken from a suitable point of view of a staged reconstruction was shown to reproduce the scene as painted by Manet. According to this reconstruction, "the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter's field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her." As it appears, the observer should be standing to the right and closer to the bar than the man whose reflection appears at the right edge of the picture. This is an unusual departure from the central point of view usually assumed when viewing pictures drawn according to perspective.Asserting the presence of the mirror has been crucial for many modern interpreters. It provides a meaningful parallel with Las Meninas, a masterpiece by an artist Manet admired, Diego Velázquez. There has been a considerable development of this topic since Michel Foucault broached it in his book The Order of Things (1966).The art historian Jeffrey Meyers describes the intentional play on perspective and the apparent violation of the operations of mirrors: "Behind her, and extending for the entire length of the four-and-a-quarter-foot painting, is the gold frame of an enormous mirror. The French philosopher Maurice Merleau-Ponty has called a mirror 'the instrument of a universal magic that changes things into spectacles, spectacles into things, me into others, and others into me.' We, the viewers, stand opposite the barmaid on the other side of the counter and, looking at the reflection in the mirror, see exactly what she sees... A critic has noted that Manet's 'preliminary study shows her placed off to the right, whereas in the finished canvas she is very much the centre of attention.' Though Manet shifted her from the right to the center, he kept her reflection on the right. Seen in the mirror, she seems engaged with a customer; in full face, she's self-protectively withdrawn and remote."The painting is rich in details which provide clues to social class and milieu. The woman at the bar is a real person, known as Suzon, who worked at the Folies-Bergère in the early 1880s. For his painting, Manet posed her in his studio. By including a dish of oranges in the foreground, Manet identifies the barmaid as a prostitute, according to art historian Larry L. Ligo, who says that Manet habitually associated oranges with prostitution in his paintings. T. J. Clark says that the barmaid is "intended to represent one of the prostitutes for which the Folies-Bergère was well-known", who is represented "as both a salesperson and a commodity—something to be purchased along with a drink."Other notable details include the pair of green feet in the upper left-hand corner, which belong to a trapeze artist who is performing above the restaurant's patrons. The beer bottles depicted are easily identified by the red triangle on the label as Bass Pale Ale, and the conspicuous presence of this British brand instead of German beer has been interpreted as documentation of anti-German sentiment in France in the decade after the Franco-Prussian War.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


A Bar at the Folies-Bergère

Prompt: How does A Bar at the Folies-Bergère explain its Painting?

The painting exemplifies Manet's commitment to realism in its detailed representation of a contemporary scene. Many features have puzzled critics but almost all of them have been shown to have a rationale, and the painting has been the subject of numerous popular and scholarly articles.The central figure stands before a mirror, although critics—accusing Manet of ignorance of perspective and alleging various impossibilities in the painting—have debated this point since the earliest reviews were published. In 2000, however, a photograph taken from a suitable point of view of a staged reconstruction was shown to reproduce the scene as painted by Manet. According to this reconstruction, "the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter's field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her." As it appears, the observer should be standing to the right and closer to the bar than the man whose reflection appears at the right edge of the picture. This is an unusual departure from the central point of view usually assumed when viewing pictures drawn according to perspective.Asserting the presence of the mirror has been crucial for many modern interpreters. It provides a meaningful parallel with Las Meninas, a masterpiece by an artist Manet admired, Diego Velázquez. There has been a considerable development of this topic since Michel Foucault broached it in his book The Order of Things (1966).The art historian Jeffrey Meyers describes the intentional play on perspective and the apparent violation of the operations of mirrors: "Behind her, and extending for the entire length of the four-and-a-quarter-foot painting, is the gold frame of an enormous mirror. The French philosopher Maurice Merleau-Ponty has called a mirror 'the instrument of a universal magic that changes things into spectacles, spectacles into things, me into others, and others into me.' We, the viewers, stand opposite the barmaid on the other side of the counter and, looking at the reflection in the mirror, see exactly what she sees... A critic has noted that Manet's 'preliminary study shows her placed off to the right, whereas in the finished canvas she is very much the centre of attention.' Though Manet shifted her from the right to the center, he kept her reflection on the right. Seen in the mirror, she seems engaged with a customer; in full face, she's self-protectively withdrawn and remote."The painting is rich in details which provide clues to social class and milieu. The woman at the bar is a real person, known as Suzon, who worked at the Folies-Bergère in the early 1880s. For his painting, Manet posed her in his studio. By including a dish of oranges in the foreground, Manet identifies the barmaid as a prostitute, according to art historian Larry L. Ligo, who says that Manet habitually associated oranges with prostitution in his paintings. T. J. Clark says that the barmaid is "intended to represent one of the prostitutes for which the Folies-Bergère was well-known", who is represented "as both a salesperson and a commodity—something to be purchased along with a drink."Other notable details include the pair of green feet in the upper left-hand corner, which belong to a trapeze artist who is performing above the restaurant's patrons. The beer bottles depicted are easily identified by the red triangle on the label as Bass Pale Ale, and the conspicuous presence of this British brand instead of German beer has been interpreted as documentation of anti-German sentiment in France in the decade after the Franco-Prussian War.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


A Bar at the Folies-Bergère

Prompt: In A Bar at the Folies-Bergère, how is the Painting discussed?

The painting exemplifies Manet's commitment to realism in its detailed representation of a contemporary scene. Many features have puzzled critics but almost all of them have been shown to have a rationale, and the painting has been the subject of numerous popular and scholarly articles.The central figure stands before a mirror, although critics—accusing Manet of ignorance of perspective and alleging various impossibilities in the painting—have debated this point since the earliest reviews were published. In 2000, however, a photograph taken from a suitable point of view of a staged reconstruction was shown to reproduce the scene as painted by Manet. According to this reconstruction, "the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter's field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her." As it appears, the observer should be standing to the right and closer to the bar than the man whose reflection appears at the right edge of the picture. This is an unusual departure from the central point of view usually assumed when viewing pictures drawn according to perspective.Asserting the presence of the mirror has been crucial for many modern interpreters. It provides a meaningful parallel with Las Meninas, a masterpiece by an artist Manet admired, Diego Velázquez. There has been a considerable development of this topic since Michel Foucault broached it in his book The Order of Things (1966).The art historian Jeffrey Meyers describes the intentional play on perspective and the apparent violation of the operations of mirrors: "Behind her, and extending for the entire length of the four-and-a-quarter-foot painting, is the gold frame of an enormous mirror. The French philosopher Maurice Merleau-Ponty has called a mirror 'the instrument of a universal magic that changes things into spectacles, spectacles into things, me into others, and others into me.' We, the viewers, stand opposite the barmaid on the other side of the counter and, looking at the reflection in the mirror, see exactly what she sees... A critic has noted that Manet's 'preliminary study shows her placed off to the right, whereas in the finished canvas she is very much the centre of attention.' Though Manet shifted her from the right to the center, he kept her reflection on the right. Seen in the mirror, she seems engaged with a customer; in full face, she's self-protectively withdrawn and remote."The painting is rich in details which provide clues to social class and milieu. The woman at the bar is a real person, known as Suzon, who worked at the Folies-Bergère in the early 1880s. For his painting, Manet posed her in his studio. By including a dish of oranges in the foreground, Manet identifies the barmaid as a prostitute, according to art historian Larry L. Ligo, who says that Manet habitually associated oranges with prostitution in his paintings. T. J. Clark says that the barmaid is "intended to represent one of the prostitutes for which the Folies-Bergère was well-known", who is represented "as both a salesperson and a commodity—something to be purchased along with a drink."Other notable details include the pair of green feet in the upper left-hand corner, which belong to a trapeze artist who is performing above the restaurant's patrons. The beer bottles depicted are easily identified by the red triangle on the label as Bass Pale Ale, and the conspicuous presence of this British brand instead of German beer has been interpreted as documentation of anti-German sentiment in France in the decade after the Franco-Prussian War.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


A Bar at the Folies-Bergère

Prompt: Focus on A Bar at the Folies-Bergère and explain the Cultural references.

The 1934 ballet Bar aux Folies-Bergère with choreography by Ninette de Valois and music of Chabrier was created from, and based around, Manet's painting. The 1947 film The Private Affairs of Bel Ami faithfully references A Bar at the Folies-Bergère twenty nine minutes into the film with a look-alike actress, set and props as the main characters enter the establishment.The painting was the inspiration of a song (possibly by Sydney Carter) in the popular theatre production The Lyric Revue, in London in 1951. The refrain went "Oh, how I long to be back in my dear Brittany [...] But fate has chosen me for the bar at the Folies-Bergères".The painting The Bar (1954) by Australian artist John Brack, which depicts a comparatively grim and austere Melbourne bar-room scene, is an ironic reference to A Bar at the Folies-Bergère.In the 1988 Eddie Murphy film Coming to America, a spoof on the painting in which the barmaids are dark-skinned women in red dresses and there is a hamburger on a plate on the counter can be seen hanging at the McDowell residence.Canadian artist Jeff Wall makes reference to A Bar at the Folies-Bergère in his work Picture for Women (1979). The Tate Modern wall text for Picture for Women, from the 2005–2006 exhibition Jeff Wall Photographs 1978–2004, outlines the influence of Manet's painting:In Manet's painting, a barmaid gazes out of frame, observed by a shadowy male figure. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth. The figures are similarly reflected in a mirror, and the woman has the absorbed gaze and posture of Manet's barmaid, while the man is the artist himself. Though issues of the male gaze, particularly the power relationship between male artist and female model, and the viewer's role as onlooker, are implicit in Manet's painting, Wall updates the theme by positioning the camera at the centre of the work, so that it captures the act of making the image (the scene reflected in the mirror) and, at the same time, looks straight out at us.Adventure in Paris, a book in the popular British Oxford Reading Tree scheme for children, clearly references the painting in a scene where the children travel back to 19th-century Paris to enquire as to the whereabouts of the Eiffel Tower.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


A Bar at the Folies-Bergère

Prompt: Explain the Cultural references of this artwork, A Bar at the Folies-Bergère.

The 1934 ballet Bar aux Folies-Bergère with choreography by Ninette de Valois and music of Chabrier was created from, and based around, Manet's painting. The 1947 film The Private Affairs of Bel Ami faithfully references A Bar at the Folies-Bergère twenty nine minutes into the film with a look-alike actress, set and props as the main characters enter the establishment.The painting was the inspiration of a song (possibly by Sydney Carter) in the popular theatre production The Lyric Revue, in London in 1951. The refrain went "Oh, how I long to be back in my dear Brittany [...] But fate has chosen me for the bar at the Folies-Bergères".The painting The Bar (1954) by Australian artist John Brack, which depicts a comparatively grim and austere Melbourne bar-room scene, is an ironic reference to A Bar at the Folies-Bergère.In the 1988 Eddie Murphy film Coming to America, a spoof on the painting in which the barmaids are dark-skinned women in red dresses and there is a hamburger on a plate on the counter can be seen hanging at the McDowell residence.Canadian artist Jeff Wall makes reference to A Bar at the Folies-Bergère in his work Picture for Women (1979). The Tate Modern wall text for Picture for Women, from the 2005–2006 exhibition Jeff Wall Photographs 1978–2004, outlines the influence of Manet's painting:In Manet's painting, a barmaid gazes out of frame, observed by a shadowy male figure. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth. The figures are similarly reflected in a mirror, and the woman has the absorbed gaze and posture of Manet's barmaid, while the man is the artist himself. Though issues of the male gaze, particularly the power relationship between male artist and female model, and the viewer's role as onlooker, are implicit in Manet's painting, Wall updates the theme by positioning the camera at the centre of the work, so that it captures the act of making the image (the scene reflected in the mirror) and, at the same time, looks straight out at us.Adventure in Paris, a book in the popular British Oxford Reading Tree scheme for children, clearly references the painting in a scene where the children travel back to 19th-century Paris to enquire as to the whereabouts of the Eiffel Tower.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


A Bar at the Folies-Bergère

Prompt: How does A Bar at the Folies-Bergère explain its Cultural references?

The 1934 ballet Bar aux Folies-Bergère with choreography by Ninette de Valois and music of Chabrier was created from, and based around, Manet's painting. The 1947 film The Private Affairs of Bel Ami faithfully references A Bar at the Folies-Bergère twenty nine minutes into the film with a look-alike actress, set and props as the main characters enter the establishment.The painting was the inspiration of a song (possibly by Sydney Carter) in the popular theatre production The Lyric Revue, in London in 1951. The refrain went "Oh, how I long to be back in my dear Brittany [...] But fate has chosen me for the bar at the Folies-Bergères".The painting The Bar (1954) by Australian artist John Brack, which depicts a comparatively grim and austere Melbourne bar-room scene, is an ironic reference to A Bar at the Folies-Bergère.In the 1988 Eddie Murphy film Coming to America, a spoof on the painting in which the barmaids are dark-skinned women in red dresses and there is a hamburger on a plate on the counter can be seen hanging at the McDowell residence.Canadian artist Jeff Wall makes reference to A Bar at the Folies-Bergère in his work Picture for Women (1979). The Tate Modern wall text for Picture for Women, from the 2005–2006 exhibition Jeff Wall Photographs 1978–2004, outlines the influence of Manet's painting:In Manet's painting, a barmaid gazes out of frame, observed by a shadowy male figure. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth. The figures are similarly reflected in a mirror, and the woman has the absorbed gaze and posture of Manet's barmaid, while the man is the artist himself. Though issues of the male gaze, particularly the power relationship between male artist and female model, and the viewer's role as onlooker, are implicit in Manet's painting, Wall updates the theme by positioning the camera at the centre of the work, so that it captures the act of making the image (the scene reflected in the mirror) and, at the same time, looks straight out at us.Adventure in Paris, a book in the popular British Oxford Reading Tree scheme for children, clearly references the painting in a scene where the children travel back to 19th-century Paris to enquire as to the whereabouts of the Eiffel Tower.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


A Bar at the Folies-Bergère

Prompt: In A Bar at the Folies-Bergère, how is the Cultural references discussed?

The 1934 ballet Bar aux Folies-Bergère with choreography by Ninette de Valois and music of Chabrier was created from, and based around, Manet's painting. The 1947 film The Private Affairs of Bel Ami faithfully references A Bar at the Folies-Bergère twenty nine minutes into the film with a look-alike actress, set and props as the main characters enter the establishment.The painting was the inspiration of a song (possibly by Sydney Carter) in the popular theatre production The Lyric Revue, in London in 1951. The refrain went "Oh, how I long to be back in my dear Brittany [...] But fate has chosen me for the bar at the Folies-Bergères".The painting The Bar (1954) by Australian artist John Brack, which depicts a comparatively grim and austere Melbourne bar-room scene, is an ironic reference to A Bar at the Folies-Bergère.In the 1988 Eddie Murphy film Coming to America, a spoof on the painting in which the barmaids are dark-skinned women in red dresses and there is a hamburger on a plate on the counter can be seen hanging at the McDowell residence.Canadian artist Jeff Wall makes reference to A Bar at the Folies-Bergère in his work Picture for Women (1979). The Tate Modern wall text for Picture for Women, from the 2005–2006 exhibition Jeff Wall Photographs 1978–2004, outlines the influence of Manet's painting:In Manet's painting, a barmaid gazes out of frame, observed by a shadowy male figure. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth. The figures are similarly reflected in a mirror, and the woman has the absorbed gaze and posture of Manet's barmaid, while the man is the artist himself. Though issues of the male gaze, particularly the power relationship between male artist and female model, and the viewer's role as onlooker, are implicit in Manet's painting, Wall updates the theme by positioning the camera at the centre of the work, so that it captures the act of making the image (the scene reflected in the mirror) and, at the same time, looks straight out at us.Adventure in Paris, a book in the popular British Oxford Reading Tree scheme for children, clearly references the painting in a scene where the children travel back to 19th-century Paris to enquire as to the whereabouts of the Eiffel Tower.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


A Bar at the Folies-Bergère

Prompt: Focus on A Bar at the Folies-Bergère and explain the References and sources.

ReferencesSourcesGary Tinterow, et al. Manet/Velázquez: The French Taste for Spanish Painting, Metropolitan Museum of Art, 2003.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


A Bar at the Folies-Bergère

Prompt: Explain the References and sources of this artwork, A Bar at the Folies-Bergère.

ReferencesSourcesGary Tinterow, et al. Manet/Velázquez: The French Taste for Spanish Painting, Metropolitan Museum of Art, 2003.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


A Bar at the Folies-Bergère

Prompt: How does A Bar at the Folies-Bergère explain its References and sources?

ReferencesSourcesGary Tinterow, et al. Manet/Velázquez: The French Taste for Spanish Painting, Metropolitan Museum of Art, 2003.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


A Bar at the Folies-Bergère

Prompt: In A Bar at the Folies-Bergère, how is the References and sources discussed?

ReferencesSourcesGary Tinterow, et al. Manet/Velázquez: The French Taste for Spanish Painting, Metropolitan Museum of Art, 2003.

Category:Paintings in the Courtauld Gallery

Study for ''A Bar at the Folies-Bergère'' (1881)


Madonna of the Yarnwinder

Prompt: Focus on Madonna of the Yarnwinder and explain the abstract.

The Madonna of the Yarnwinder (Italian: Madonna dei Fusi, "Madonna of the Spindles") is a subject depicted by Leonardo da Vinci in at least one, and perhaps two paintings begun in 1499 or later. Leonardo was recorded as being at work on one such picture in Florence in 1501 for Florimond Robertet, a secretary to King Louis XII of France. This may have been delivered to the French court in 1507, though scholars are divided on this point. The subject is known today from several versions of which two, called the Buccleuch Madonna and the Lansdowne Madonna, are thought to be partly by Leonardo's hand. The underdrawings of both paintings show similar experimental changes made to the composition (or pentimenti), suggesting that both evolved concurrently in Leonardo's workshop.The composition shows the Virgin Mary seated in a landscape with the Christ child, who gazes at a niddy-noddy used to collect spun yarn. The niddy-noddy serves both as a symbol of Mary's domesticity and as a foreshadowing of the Cross on which Christ was crucified. The painting's dynamic composition and the implied narrative were highly influential on later High Renaissance depictions of the Madonna and Child by artists such as Raphael and Andrea del Sarto.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

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


Madonna of the Yarnwinder

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

The Madonna of the Yarnwinder (Italian: Madonna dei Fusi, "Madonna of the Spindles") is a subject depicted by Leonardo da Vinci in at least one, and perhaps two paintings begun in 1499 or later. Leonardo was recorded as being at work on one such picture in Florence in 1501 for Florimond Robertet, a secretary to King Louis XII of France. This may have been delivered to the French court in 1507, though scholars are divided on this point. The subject is known today from several versions of which two, called the Buccleuch Madonna and the Lansdowne Madonna, are thought to be partly by Leonardo's hand. The underdrawings of both paintings show similar experimental changes made to the composition (or pentimenti), suggesting that both evolved concurrently in Leonardo's workshop.The composition shows the Virgin Mary seated in a landscape with the Christ child, who gazes at a niddy-noddy used to collect spun yarn. The niddy-noddy serves both as a symbol of Mary's domesticity and as a foreshadowing of the Cross on which Christ was crucified. The painting's dynamic composition and the implied narrative were highly influential on later High Renaissance depictions of the Madonna and Child by artists such as Raphael and Andrea del Sarto.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

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


Madonna of the Yarnwinder

Prompt: How does Madonna of the Yarnwinder explain its abstract?

The Madonna of the Yarnwinder (Italian: Madonna dei Fusi, "Madonna of the Spindles") is a subject depicted by Leonardo da Vinci in at least one, and perhaps two paintings begun in 1499 or later. Leonardo was recorded as being at work on one such picture in Florence in 1501 for Florimond Robertet, a secretary to King Louis XII of France. This may have been delivered to the French court in 1507, though scholars are divided on this point. The subject is known today from several versions of which two, called the Buccleuch Madonna and the Lansdowne Madonna, are thought to be partly by Leonardo's hand. The underdrawings of both paintings show similar experimental changes made to the composition (or pentimenti), suggesting that both evolved concurrently in Leonardo's workshop.The composition shows the Virgin Mary seated in a landscape with the Christ child, who gazes at a niddy-noddy used to collect spun yarn. The niddy-noddy serves both as a symbol of Mary's domesticity and as a foreshadowing of the Cross on which Christ was crucified. The painting's dynamic composition and the implied narrative were highly influential on later High Renaissance depictions of the Madonna and Child by artists such as Raphael and Andrea del Sarto.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

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


Madonna of the Yarnwinder

Prompt: In Madonna of the Yarnwinder, how is the abstract discussed?

The Madonna of the Yarnwinder (Italian: Madonna dei Fusi, "Madonna of the Spindles") is a subject depicted by Leonardo da Vinci in at least one, and perhaps two paintings begun in 1499 or later. Leonardo was recorded as being at work on one such picture in Florence in 1501 for Florimond Robertet, a secretary to King Louis XII of France. This may have been delivered to the French court in 1507, though scholars are divided on this point. The subject is known today from several versions of which two, called the Buccleuch Madonna and the Lansdowne Madonna, are thought to be partly by Leonardo's hand. The underdrawings of both paintings show similar experimental changes made to the composition (or pentimenti), suggesting that both evolved concurrently in Leonardo's workshop.The composition shows the Virgin Mary seated in a landscape with the Christ child, who gazes at a niddy-noddy used to collect spun yarn. The niddy-noddy serves both as a symbol of Mary's domesticity and as a foreshadowing of the Cross on which Christ was crucified. The painting's dynamic composition and the implied narrative were highly influential on later High Renaissance depictions of the Madonna and Child by artists such as Raphael and Andrea del Sarto.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

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


Madonna of the Yarnwinder

Prompt: Focus on Madonna of the Yarnwinder and explain the History.

The earliest reference to a painting of this subject by Leonardo is in a letter of 14 April 1501 by Fra Pietro da Novellara, the head of the Carmelites in Florence, to Isabella d'Este, Marchioness of Mantua. Leonardo had recently returned to his native city following the French invasion of Milan in 1499; the intervening years he had spent first in Isabella's court, during which brief stay he produced a cartoon (now in the Louvre) for a portrait of her, and then in Venice. Isabella was determined to get a finished painting by Leonardo for her collection, and to that end she instructed Fra Pietro, her contact in Florence, to press Leonardo into agreeing to a commission. Two letters of reply by the friar survive. In the second, written after he had succeeded in meeting with the artist, he writes that Leonardo has become distracted by his mathematical pursuits and is busy working on a small painting for Florimond Robertet, which he goes on to describe:"The little picture which he is doing is of a Madonna seated as if she were about to spin yarn. The Child has placed his foot on the basket of yarns and has grasped the yarn-winder and gazes attentively at four spokes that are in the form of a cross. As if desirous of the cross he smiles and holds it firm, and is unwilling to yield it to his Mother who seems to want to take it away from him."The passage is valuable for being one of the few descriptions by a contemporary viewer of a work by Leonardo; it matches the composition of the Buccleuch and Lansdowne Madonnas in all respects except that there is no basket in either painting. Robertet's painting was probably commissioned late in 1499 just before Leonardo left Milan, and was possibly begun there.Scholars disagree on whether Robertet received his painting or not. In January 1507 Francesco Pandolfini, the Florentine ambassador to the French court in Blois, reported that “a little picture by [Leonardo’s] hand has recently been brought here and is held to be an excellent thing”. The Madonna does not, however, appear in a posthumous inventory of Robertet's collection made in 1532 (though the authenticity of the inventory has been called into question). One hypothesis holds that it passed from Robertet's collection into that of the French king, thus explaining its absence from the inventory. It is unclear, however, why it would have left the royal collection.In 1525 two inventories were drawn up of the possessions of Leonardo's assistant and heir Salaì, who died the preceding year. These mention a “Madonna with a Child in her Arms”. This is thought to be evidence that one of the prime versions of the Madonna of the Yarnwinder remained in Leonardo's possession while the other was sent to Robertet.Neither of the paintings accepted as prime versions has a provenance that can be traced back to Robertet or Salaì, or further back than the 18th century, though the Buccleuch Madonna was in France at that time. However, the Lansdowne Madonna could easily have been bought by its earliest known owners from a French collection in the period following the French Revolution, when many works with a French aristocratic provenance were bought by British collectors.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

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


Madonna of the Yarnwinder

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

The earliest reference to a painting of this subject by Leonardo is in a letter of 14 April 1501 by Fra Pietro da Novellara, the head of the Carmelites in Florence, to Isabella d'Este, Marchioness of Mantua. Leonardo had recently returned to his native city following the French invasion of Milan in 1499; the intervening years he had spent first in Isabella's court, during which brief stay he produced a cartoon (now in the Louvre) for a portrait of her, and then in Venice. Isabella was determined to get a finished painting by Leonardo for her collection, and to that end she instructed Fra Pietro, her contact in Florence, to press Leonardo into agreeing to a commission. Two letters of reply by the friar survive. In the second, written after he had succeeded in meeting with the artist, he writes that Leonardo has become distracted by his mathematical pursuits and is busy working on a small painting for Florimond Robertet, which he goes on to describe:"The little picture which he is doing is of a Madonna seated as if she were about to spin yarn. The Child has placed his foot on the basket of yarns and has grasped the yarn-winder and gazes attentively at four spokes that are in the form of a cross. As if desirous of the cross he smiles and holds it firm, and is unwilling to yield it to his Mother who seems to want to take it away from him."The passage is valuable for being one of the few descriptions by a contemporary viewer of a work by Leonardo; it matches the composition of the Buccleuch and Lansdowne Madonnas in all respects except that there is no basket in either painting. Robertet's painting was probably commissioned late in 1499 just before Leonardo left Milan, and was possibly begun there.Scholars disagree on whether Robertet received his painting or not. In January 1507 Francesco Pandolfini, the Florentine ambassador to the French court in Blois, reported that “a little picture by [Leonardo’s] hand has recently been brought here and is held to be an excellent thing”. The Madonna does not, however, appear in a posthumous inventory of Robertet's collection made in 1532 (though the authenticity of the inventory has been called into question). One hypothesis holds that it passed from Robertet's collection into that of the French king, thus explaining its absence from the inventory. It is unclear, however, why it would have left the royal collection.In 1525 two inventories were drawn up of the possessions of Leonardo's assistant and heir Salaì, who died the preceding year. These mention a “Madonna with a Child in her Arms”. This is thought to be evidence that one of the prime versions of the Madonna of the Yarnwinder remained in Leonardo's possession while the other was sent to Robertet.Neither of the paintings accepted as prime versions has a provenance that can be traced back to Robertet or Salaì, or further back than the 18th century, though the Buccleuch Madonna was in France at that time. However, the Lansdowne Madonna could easily have been bought by its earliest known owners from a French collection in the period following the French Revolution, when many works with a French aristocratic provenance were bought by British collectors.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

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


Madonna of the Yarnwinder

Prompt: How does Madonna of the Yarnwinder explain its History?

The earliest reference to a painting of this subject by Leonardo is in a letter of 14 April 1501 by Fra Pietro da Novellara, the head of the Carmelites in Florence, to Isabella d'Este, Marchioness of Mantua. Leonardo had recently returned to his native city following the French invasion of Milan in 1499; the intervening years he had spent first in Isabella's court, during which brief stay he produced a cartoon (now in the Louvre) for a portrait of her, and then in Venice. Isabella was determined to get a finished painting by Leonardo for her collection, and to that end she instructed Fra Pietro, her contact in Florence, to press Leonardo into agreeing to a commission. Two letters of reply by the friar survive. In the second, written after he had succeeded in meeting with the artist, he writes that Leonardo has become distracted by his mathematical pursuits and is busy working on a small painting for Florimond Robertet, which he goes on to describe:"The little picture which he is doing is of a Madonna seated as if she were about to spin yarn. The Child has placed his foot on the basket of yarns and has grasped the yarn-winder and gazes attentively at four spokes that are in the form of a cross. As if desirous of the cross he smiles and holds it firm, and is unwilling to yield it to his Mother who seems to want to take it away from him."The passage is valuable for being one of the few descriptions by a contemporary viewer of a work by Leonardo; it matches the composition of the Buccleuch and Lansdowne Madonnas in all respects except that there is no basket in either painting. Robertet's painting was probably commissioned late in 1499 just before Leonardo left Milan, and was possibly begun there.Scholars disagree on whether Robertet received his painting or not. In January 1507 Francesco Pandolfini, the Florentine ambassador to the French court in Blois, reported that “a little picture by [Leonardo’s] hand has recently been brought here and is held to be an excellent thing”. The Madonna does not, however, appear in a posthumous inventory of Robertet's collection made in 1532 (though the authenticity of the inventory has been called into question). One hypothesis holds that it passed from Robertet's collection into that of the French king, thus explaining its absence from the inventory. It is unclear, however, why it would have left the royal collection.In 1525 two inventories were drawn up of the possessions of Leonardo's assistant and heir Salaì, who died the preceding year. These mention a “Madonna with a Child in her Arms”. This is thought to be evidence that one of the prime versions of the Madonna of the Yarnwinder remained in Leonardo's possession while the other was sent to Robertet.Neither of the paintings accepted as prime versions has a provenance that can be traced back to Robertet or Salaì, or further back than the 18th century, though the Buccleuch Madonna was in France at that time. However, the Lansdowne Madonna could easily have been bought by its earliest known owners from a French collection in the period following the French Revolution, when many works with a French aristocratic provenance were bought by British collectors.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

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


Madonna of the Yarnwinder

Prompt: In Madonna of the Yarnwinder, how is the History discussed?

The earliest reference to a painting of this subject by Leonardo is in a letter of 14 April 1501 by Fra Pietro da Novellara, the head of the Carmelites in Florence, to Isabella d'Este, Marchioness of Mantua. Leonardo had recently returned to his native city following the French invasion of Milan in 1499; the intervening years he had spent first in Isabella's court, during which brief stay he produced a cartoon (now in the Louvre) for a portrait of her, and then in Venice. Isabella was determined to get a finished painting by Leonardo for her collection, and to that end she instructed Fra Pietro, her contact in Florence, to press Leonardo into agreeing to a commission. Two letters of reply by the friar survive. In the second, written after he had succeeded in meeting with the artist, he writes that Leonardo has become distracted by his mathematical pursuits and is busy working on a small painting for Florimond Robertet, which he goes on to describe:"The little picture which he is doing is of a Madonna seated as if she were about to spin yarn. The Child has placed his foot on the basket of yarns and has grasped the yarn-winder and gazes attentively at four spokes that are in the form of a cross. As if desirous of the cross he smiles and holds it firm, and is unwilling to yield it to his Mother who seems to want to take it away from him."The passage is valuable for being one of the few descriptions by a contemporary viewer of a work by Leonardo; it matches the composition of the Buccleuch and Lansdowne Madonnas in all respects except that there is no basket in either painting. Robertet's painting was probably commissioned late in 1499 just before Leonardo left Milan, and was possibly begun there.Scholars disagree on whether Robertet received his painting or not. In January 1507 Francesco Pandolfini, the Florentine ambassador to the French court in Blois, reported that “a little picture by [Leonardo’s] hand has recently been brought here and is held to be an excellent thing”. The Madonna does not, however, appear in a posthumous inventory of Robertet's collection made in 1532 (though the authenticity of the inventory has been called into question). One hypothesis holds that it passed from Robertet's collection into that of the French king, thus explaining its absence from the inventory. It is unclear, however, why it would have left the royal collection.In 1525 two inventories were drawn up of the possessions of Leonardo's assistant and heir Salaì, who died the preceding year. These mention a “Madonna with a Child in her Arms”. This is thought to be evidence that one of the prime versions of the Madonna of the Yarnwinder remained in Leonardo's possession while the other was sent to Robertet.Neither of the paintings accepted as prime versions has a provenance that can be traced back to Robertet or Salaì, or further back than the 18th century, though the Buccleuch Madonna was in France at that time. However, the Lansdowne Madonna could easily have been bought by its earliest known owners from a French collection in the period following the French Revolution, when many works with a French aristocratic provenance were bought by British collectors.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

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


Madonna of the Yarnwinder

Prompt: Focus on Madonna of the Yarnwinder and explain the Description.

The composition of the Madonna of the Yarnwinder shows the Christ child twisting his body away from his mother's embrace, his eye caught by her niddy-noddy whose arms (crosspieces) give it the shape of a cross; he precociously recognises it as a symbol of his destiny. The Virgin's reaction is ambiguous, a mixture of alarm at the harm her son will come to and resigned acceptance of it. The gesture of suspense made with her right hand is repeated from Leonardo's Milanese altarpiece The Virgin of the Rocks. The use of a symbol of the Passion as an object of childish play recurs throughout Leonardo's paintings, appearing for instance in the Benois Madonna and the Virgin and Child with St Anne. The depiction of the Virgin spinning also alludes to her antitype, Eve, who was sometimes portrayed spinning wool after her expulsion from Paradise, accompanied by her infant sons Cain and Abel. The iconography therefore recalls humanity's fall, its ensuing travails and its redemption through Christ's sacrifice.As with later works by Leonardo, the figures appear in a vast unpopulated landscape. The rocky outcrop in the foreground of the Buccleuch Madonna is painted with a minute attention to geological detail. A major difference between the Buccleuch and Lansdowne Madonnas is in their background landscapes. Whereas the background of the Buccleuch version is a watery landscape indifferently painted, that of the Lansdowne Madonna has a dramatic mountain range far more typical of Leonardo. It has been proposed that this is a specific location in the valley of the river Adda, as it runs from Lecco to Vaprio, an area familiar to Leonardo and which he mapped. It is possible that the landscape of the former picture was added by a pupil after Leonardo failed to complete the work. For Martin Kemp the “late” character of the landscape in the Lansdowne Madonna suggests that it was the later painting to be completed and that the Buccleuch Madonna was the one sent to Robertet in 1507.The underdrawings of both the Buccleuch and Lansdowne Madonnas show several features not in the finished works, but present in some copies; it is likely that these were originally copied from the prime versions during an early stage of the composition's development. One such feature, which appears in both underdrawings, is a group of figures identified as Saint Joseph making a baby walker for the Christ child, who appears with his mother and another female figure, probably a midwife. It has also been suggested that the child learning to walk is the infant John the Baptist, appearing with his mother Saint Elizabeth, as Leonardo would have been unlikely to depict the figures of Mary and Christ twice in the same painting. Leonardo also experimented with including some kind of beast of burden – a horse, ass or ox – which appears in different positions in the two underdrawings. Behind these an architectural structure with an arched opening was planned. At a later stage the landscape of the Buccleuch picture seems to have had a bridge like that of the Lansdowne Madonna, which was then painted over.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

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


Madonna of the Yarnwinder

Prompt: Explain the Description of this artwork, Madonna of the Yarnwinder.

The composition of the Madonna of the Yarnwinder shows the Christ child twisting his body away from his mother's embrace, his eye caught by her niddy-noddy whose arms (crosspieces) give it the shape of a cross; he precociously recognises it as a symbol of his destiny. The Virgin's reaction is ambiguous, a mixture of alarm at the harm her son will come to and resigned acceptance of it. The gesture of suspense made with her right hand is repeated from Leonardo's Milanese altarpiece The Virgin of the Rocks. The use of a symbol of the Passion as an object of childish play recurs throughout Leonardo's paintings, appearing for instance in the Benois Madonna and the Virgin and Child with St Anne. The depiction of the Virgin spinning also alludes to her antitype, Eve, who was sometimes portrayed spinning wool after her expulsion from Paradise, accompanied by her infant sons Cain and Abel. The iconography therefore recalls humanity's fall, its ensuing travails and its redemption through Christ's sacrifice.As with later works by Leonardo, the figures appear in a vast unpopulated landscape. The rocky outcrop in the foreground of the Buccleuch Madonna is painted with a minute attention to geological detail. A major difference between the Buccleuch and Lansdowne Madonnas is in their background landscapes. Whereas the background of the Buccleuch version is a watery landscape indifferently painted, that of the Lansdowne Madonna has a dramatic mountain range far more typical of Leonardo. It has been proposed that this is a specific location in the valley of the river Adda, as it runs from Lecco to Vaprio, an area familiar to Leonardo and which he mapped. It is possible that the landscape of the former picture was added by a pupil after Leonardo failed to complete the work. For Martin Kemp the “late” character of the landscape in the Lansdowne Madonna suggests that it was the later painting to be completed and that the Buccleuch Madonna was the one sent to Robertet in 1507.The underdrawings of both the Buccleuch and Lansdowne Madonnas show several features not in the finished works, but present in some copies; it is likely that these were originally copied from the prime versions during an early stage of the composition's development. One such feature, which appears in both underdrawings, is a group of figures identified as Saint Joseph making a baby walker for the Christ child, who appears with his mother and another female figure, probably a midwife. It has also been suggested that the child learning to walk is the infant John the Baptist, appearing with his mother Saint Elizabeth, as Leonardo would have been unlikely to depict the figures of Mary and Christ twice in the same painting. Leonardo also experimented with including some kind of beast of burden – a horse, ass or ox – which appears in different positions in the two underdrawings. Behind these an architectural structure with an arched opening was planned. At a later stage the landscape of the Buccleuch picture seems to have had a bridge like that of the Lansdowne Madonna, which was then painted over.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

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


Madonna of the Yarnwinder

Prompt: How does Madonna of the Yarnwinder explain its Description?

The composition of the Madonna of the Yarnwinder shows the Christ child twisting his body away from his mother's embrace, his eye caught by her niddy-noddy whose arms (crosspieces) give it the shape of a cross; he precociously recognises it as a symbol of his destiny. The Virgin's reaction is ambiguous, a mixture of alarm at the harm her son will come to and resigned acceptance of it. The gesture of suspense made with her right hand is repeated from Leonardo's Milanese altarpiece The Virgin of the Rocks. The use of a symbol of the Passion as an object of childish play recurs throughout Leonardo's paintings, appearing for instance in the Benois Madonna and the Virgin and Child with St Anne. The depiction of the Virgin spinning also alludes to her antitype, Eve, who was sometimes portrayed spinning wool after her expulsion from Paradise, accompanied by her infant sons Cain and Abel. The iconography therefore recalls humanity's fall, its ensuing travails and its redemption through Christ's sacrifice.As with later works by Leonardo, the figures appear in a vast unpopulated landscape. The rocky outcrop in the foreground of the Buccleuch Madonna is painted with a minute attention to geological detail. A major difference between the Buccleuch and Lansdowne Madonnas is in their background landscapes. Whereas the background of the Buccleuch version is a watery landscape indifferently painted, that of the Lansdowne Madonna has a dramatic mountain range far more typical of Leonardo. It has been proposed that this is a specific location in the valley of the river Adda, as it runs from Lecco to Vaprio, an area familiar to Leonardo and which he mapped. It is possible that the landscape of the former picture was added by a pupil after Leonardo failed to complete the work. For Martin Kemp the “late” character of the landscape in the Lansdowne Madonna suggests that it was the later painting to be completed and that the Buccleuch Madonna was the one sent to Robertet in 1507.The underdrawings of both the Buccleuch and Lansdowne Madonnas show several features not in the finished works, but present in some copies; it is likely that these were originally copied from the prime versions during an early stage of the composition's development. One such feature, which appears in both underdrawings, is a group of figures identified as Saint Joseph making a baby walker for the Christ child, who appears with his mother and another female figure, probably a midwife. It has also been suggested that the child learning to walk is the infant John the Baptist, appearing with his mother Saint Elizabeth, as Leonardo would have been unlikely to depict the figures of Mary and Christ twice in the same painting. Leonardo also experimented with including some kind of beast of burden – a horse, ass or ox – which appears in different positions in the two underdrawings. Behind these an architectural structure with an arched opening was planned. At a later stage the landscape of the Buccleuch picture seems to have had a bridge like that of the Lansdowne Madonna, which was then painted over.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

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