Christ Among the Doctors (Dürer)

Prompt: Explain the "Made in five days" about the Conception of this artwork, Christ Among the Doctors (Dürer).

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque (cartellino) or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church (which brought him immediate fame that also radiated back to Nuremberg). And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech" (seltsame Red) even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" (Panofsky), in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" (Und diese Gab ist wunderlich), Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the "Made in five days" of the Conception explained?

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque (cartellino) or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church (which brought him immediate fame that also radiated back to Nuremberg). And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech" (seltsame Red) even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" (Panofsky), in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" (Und diese Gab ist wunderlich), Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Describe the characteristics of the "Made in five days" in Christ Among the Doctors (Dürer)'s Conception.

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque (cartellino) or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church (which brought him immediate fame that also radiated back to Nuremberg). And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech" (seltsame Red) even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" (Panofsky), in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" (Und diese Gab ist wunderlich), Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Focus on Christ Among the Doctors (Dürer) and explain the Imagery of the figures.

The characters occupy the whole panel submerged in a dark background intensifying the tense atmosphere. Especially when compared to his former interpretations of the scene with their spacious compositions and traditional conception, the almost "nightmarish" (Panofsky) staging becomes evident. Here, the young Jesus is besieged by six philosophers surrounding him, arranged on at least four different planes, each with different skin texture, pose and expression, like character studies. They stand in stark contrast to the entirely soft and restraint appearance of the innocent child. Even his halo is not displayed as a golden disc, instead delicate golden lines emanate from his head in form of a faceted cross, like he was illuminated by divine light. So he stands steadfast in the central axis of the picture contemplating his arguments and counting them off on his fingers, while the doctors keep to the books in their hands ready to cite from them.Each of the doctors reacts differently to the words of Jesus. The one on the upper left is depicted with the head over his eyes literally blind to the new thoughts, stubbornly buried into the scripture. The man on the lower left with a cartouche on his beret, a customary depiction of the Pharisees, on the contrary has closed his book and begins to pay attention trying to fathom the Child's arguments. The oldest of the philosophers seen in profile on the right next to Jesus refutes his thoughts and even gets physical with his imposing hands that interrupt the child's argumentative gesture. These two pairs of hands form a kind of ornament in the center of the picture (in fact, slightly off), summarizing the panel's theme in an abstract way. Gesturing hands were a characteristic Italian motif for the representation of scholars and teachers.The head of the "wicked old scholar" shown in profile "can hardly be imagined without some knowledge" of the caricature drawings by Leonardo da Vinci. The way he displayed the discussion and the contrasting depiction of "extreme beauty and extreme ugliness" Dürer may as well have been following Leonardo's instructions in his Trattato della Pintura. In fact, the treatise was known in Venice, and probably to Dürer, too. And although Leonardo was in Milan at the time, Dürer went to Florence for a short period and probably visited Leonardo's workshop, where his apprentices were still busy, so he could have seen into his work.The display of the grotesque was seen everywhere in northern medieval culture, from the gargoyles and capitals of the great cathedrals to the tableaux vivants, the open-air mystery plays and comedic theatre with their amateur actors grimacing and distorting their bodies, that inspired artists to adopt them primarily for miniatures in illuminated texts. But they didn't appear to necessarily have a moral inclination, instead they were a lively expression of the variety of God's creation. This tradition was carried on by Dürer's contemporaries, prominently by his colleague Hieronymus Bosch or in the countless farces of Hans Sachs. And it is known through his letters, that Dürer could be vulgar himself. Bialostocki concluded: "When achieving some incidental glimpses of Leonardo's bizarre inventions, northern artists saw in them only what they wished to see: their own tradition. And this northern tradition is dominant in the physiognomical repertoire of Dürer's [Lugano] picture."Dürer himself adopted some crucial ideas of the Italian Renaissance esthetic but did not orient his work wholeheartedly towards it either. He came to understand art as a science, particularly owed to Leonardo, but his Jesus among the Doctors has no part in this, and therefore is often seen as "Gothic" still. The Child's goodness Dürer expresses through its gratefulness, but he refused the Italian concept of ideal beauty derived from the antique. He was convinced that beauty was manyfold and relative to the individual eye, only God could know absolute beauty. Instead he emphasised the moral imacculacy of the young Jesus with the immediate juxtaposition of the old and ugly. And maybe he felt confirmed by Leonardo in this matter.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Explain the Imagery of the figures of this artwork, Christ Among the Doctors (Dürer).

The characters occupy the whole panel submerged in a dark background intensifying the tense atmosphere. Especially when compared to his former interpretations of the scene with their spacious compositions and traditional conception, the almost "nightmarish" (Panofsky) staging becomes evident. Here, the young Jesus is besieged by six philosophers surrounding him, arranged on at least four different planes, each with different skin texture, pose and expression, like character studies. They stand in stark contrast to the entirely soft and restraint appearance of the innocent child. Even his halo is not displayed as a golden disc, instead delicate golden lines emanate from his head in form of a faceted cross, like he was illuminated by divine light. So he stands steadfast in the central axis of the picture contemplating his arguments and counting them off on his fingers, while the doctors keep to the books in their hands ready to cite from them.Each of the doctors reacts differently to the words of Jesus. The one on the upper left is depicted with the head over his eyes literally blind to the new thoughts, stubbornly buried into the scripture. The man on the lower left with a cartouche on his beret, a customary depiction of the Pharisees, on the contrary has closed his book and begins to pay attention trying to fathom the Child's arguments. The oldest of the philosophers seen in profile on the right next to Jesus refutes his thoughts and even gets physical with his imposing hands that interrupt the child's argumentative gesture. These two pairs of hands form a kind of ornament in the center of the picture (in fact, slightly off), summarizing the panel's theme in an abstract way. Gesturing hands were a characteristic Italian motif for the representation of scholars and teachers.The head of the "wicked old scholar" shown in profile "can hardly be imagined without some knowledge" of the caricature drawings by Leonardo da Vinci. The way he displayed the discussion and the contrasting depiction of "extreme beauty and extreme ugliness" Dürer may as well have been following Leonardo's instructions in his Trattato della Pintura. In fact, the treatise was known in Venice, and probably to Dürer, too. And although Leonardo was in Milan at the time, Dürer went to Florence for a short period and probably visited Leonardo's workshop, where his apprentices were still busy, so he could have seen into his work.The display of the grotesque was seen everywhere in northern medieval culture, from the gargoyles and capitals of the great cathedrals to the tableaux vivants, the open-air mystery plays and comedic theatre with their amateur actors grimacing and distorting their bodies, that inspired artists to adopt them primarily for miniatures in illuminated texts. But they didn't appear to necessarily have a moral inclination, instead they were a lively expression of the variety of God's creation. This tradition was carried on by Dürer's contemporaries, prominently by his colleague Hieronymus Bosch or in the countless farces of Hans Sachs. And it is known through his letters, that Dürer could be vulgar himself. Bialostocki concluded: "When achieving some incidental glimpses of Leonardo's bizarre inventions, northern artists saw in them only what they wished to see: their own tradition. And this northern tradition is dominant in the physiognomical repertoire of Dürer's [Lugano] picture."Dürer himself adopted some crucial ideas of the Italian Renaissance esthetic but did not orient his work wholeheartedly towards it either. He came to understand art as a science, particularly owed to Leonardo, but his Jesus among the Doctors has no part in this, and therefore is often seen as "Gothic" still. The Child's goodness Dürer expresses through its gratefulness, but he refused the Italian concept of ideal beauty derived from the antique. He was convinced that beauty was manyfold and relative to the individual eye, only God could know absolute beauty. Instead he emphasised the moral imacculacy of the young Jesus with the immediate juxtaposition of the old and ugly. And maybe he felt confirmed by Leonardo in this matter.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: How does Christ Among the Doctors (Dürer) explain its Imagery of the figures?

The characters occupy the whole panel submerged in a dark background intensifying the tense atmosphere. Especially when compared to his former interpretations of the scene with their spacious compositions and traditional conception, the almost "nightmarish" (Panofsky) staging becomes evident. Here, the young Jesus is besieged by six philosophers surrounding him, arranged on at least four different planes, each with different skin texture, pose and expression, like character studies. They stand in stark contrast to the entirely soft and restraint appearance of the innocent child. Even his halo is not displayed as a golden disc, instead delicate golden lines emanate from his head in form of a faceted cross, like he was illuminated by divine light. So he stands steadfast in the central axis of the picture contemplating his arguments and counting them off on his fingers, while the doctors keep to the books in their hands ready to cite from them.Each of the doctors reacts differently to the words of Jesus. The one on the upper left is depicted with the head over his eyes literally blind to the new thoughts, stubbornly buried into the scripture. The man on the lower left with a cartouche on his beret, a customary depiction of the Pharisees, on the contrary has closed his book and begins to pay attention trying to fathom the Child's arguments. The oldest of the philosophers seen in profile on the right next to Jesus refutes his thoughts and even gets physical with his imposing hands that interrupt the child's argumentative gesture. These two pairs of hands form a kind of ornament in the center of the picture (in fact, slightly off), summarizing the panel's theme in an abstract way. Gesturing hands were a characteristic Italian motif for the representation of scholars and teachers.The head of the "wicked old scholar" shown in profile "can hardly be imagined without some knowledge" of the caricature drawings by Leonardo da Vinci. The way he displayed the discussion and the contrasting depiction of "extreme beauty and extreme ugliness" Dürer may as well have been following Leonardo's instructions in his Trattato della Pintura. In fact, the treatise was known in Venice, and probably to Dürer, too. And although Leonardo was in Milan at the time, Dürer went to Florence for a short period and probably visited Leonardo's workshop, where his apprentices were still busy, so he could have seen into his work.The display of the grotesque was seen everywhere in northern medieval culture, from the gargoyles and capitals of the great cathedrals to the tableaux vivants, the open-air mystery plays and comedic theatre with their amateur actors grimacing and distorting their bodies, that inspired artists to adopt them primarily for miniatures in illuminated texts. But they didn't appear to necessarily have a moral inclination, instead they were a lively expression of the variety of God's creation. This tradition was carried on by Dürer's contemporaries, prominently by his colleague Hieronymus Bosch or in the countless farces of Hans Sachs. And it is known through his letters, that Dürer could be vulgar himself. Bialostocki concluded: "When achieving some incidental glimpses of Leonardo's bizarre inventions, northern artists saw in them only what they wished to see: their own tradition. And this northern tradition is dominant in the physiognomical repertoire of Dürer's [Lugano] picture."Dürer himself adopted some crucial ideas of the Italian Renaissance esthetic but did not orient his work wholeheartedly towards it either. He came to understand art as a science, particularly owed to Leonardo, but his Jesus among the Doctors has no part in this, and therefore is often seen as "Gothic" still. The Child's goodness Dürer expresses through its gratefulness, but he refused the Italian concept of ideal beauty derived from the antique. He was convinced that beauty was manyfold and relative to the individual eye, only God could know absolute beauty. Instead he emphasised the moral imacculacy of the young Jesus with the immediate juxtaposition of the old and ugly. And maybe he felt confirmed by Leonardo in this matter.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the Imagery of the figures discussed?

The characters occupy the whole panel submerged in a dark background intensifying the tense atmosphere. Especially when compared to his former interpretations of the scene with their spacious compositions and traditional conception, the almost "nightmarish" (Panofsky) staging becomes evident. Here, the young Jesus is besieged by six philosophers surrounding him, arranged on at least four different planes, each with different skin texture, pose and expression, like character studies. They stand in stark contrast to the entirely soft and restraint appearance of the innocent child. Even his halo is not displayed as a golden disc, instead delicate golden lines emanate from his head in form of a faceted cross, like he was illuminated by divine light. So he stands steadfast in the central axis of the picture contemplating his arguments and counting them off on his fingers, while the doctors keep to the books in their hands ready to cite from them.Each of the doctors reacts differently to the words of Jesus. The one on the upper left is depicted with the head over his eyes literally blind to the new thoughts, stubbornly buried into the scripture. The man on the lower left with a cartouche on his beret, a customary depiction of the Pharisees, on the contrary has closed his book and begins to pay attention trying to fathom the Child's arguments. The oldest of the philosophers seen in profile on the right next to Jesus refutes his thoughts and even gets physical with his imposing hands that interrupt the child's argumentative gesture. These two pairs of hands form a kind of ornament in the center of the picture (in fact, slightly off), summarizing the panel's theme in an abstract way. Gesturing hands were a characteristic Italian motif for the representation of scholars and teachers.The head of the "wicked old scholar" shown in profile "can hardly be imagined without some knowledge" of the caricature drawings by Leonardo da Vinci. The way he displayed the discussion and the contrasting depiction of "extreme beauty and extreme ugliness" Dürer may as well have been following Leonardo's instructions in his Trattato della Pintura. In fact, the treatise was known in Venice, and probably to Dürer, too. And although Leonardo was in Milan at the time, Dürer went to Florence for a short period and probably visited Leonardo's workshop, where his apprentices were still busy, so he could have seen into his work.The display of the grotesque was seen everywhere in northern medieval culture, from the gargoyles and capitals of the great cathedrals to the tableaux vivants, the open-air mystery plays and comedic theatre with their amateur actors grimacing and distorting their bodies, that inspired artists to adopt them primarily for miniatures in illuminated texts. But they didn't appear to necessarily have a moral inclination, instead they were a lively expression of the variety of God's creation. This tradition was carried on by Dürer's contemporaries, prominently by his colleague Hieronymus Bosch or in the countless farces of Hans Sachs. And it is known through his letters, that Dürer could be vulgar himself. Bialostocki concluded: "When achieving some incidental glimpses of Leonardo's bizarre inventions, northern artists saw in them only what they wished to see: their own tradition. And this northern tradition is dominant in the physiognomical repertoire of Dürer's [Lugano] picture."Dürer himself adopted some crucial ideas of the Italian Renaissance esthetic but did not orient his work wholeheartedly towards it either. He came to understand art as a science, particularly owed to Leonardo, but his Jesus among the Doctors has no part in this, and therefore is often seen as "Gothic" still. The Child's goodness Dürer expresses through its gratefulness, but he refused the Italian concept of ideal beauty derived from the antique. He was convinced that beauty was manyfold and relative to the individual eye, only God could know absolute beauty. Instead he emphasised the moral imacculacy of the young Jesus with the immediate juxtaposition of the old and ugly. And maybe he felt confirmed by Leonardo in this matter.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In the context of Christ Among the Doctors (Dürer), explain the Mantegna and Bellini and the The tradition of the composition.

The conception of a composition with several half-figures (maximal height) in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph (slightly subordinated in the center) and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife (since the woman is to young to be the 84-year-old Hannah of the story, who propagates the news). Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait (including Mantegna).Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his (disputed) first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" ("Er ist sehr alt und ist noch, der best in Gemäl"). At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. (The angel's head Dürer had prepared with a study drawn on the same sheet of Venetian paper as the head of the young Christ, now separated.)The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling sacra conversazione, the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Explain the Mantegna and Bellini about the The tradition of the composition of this artwork, Christ Among the Doctors (Dürer).

The conception of a composition with several half-figures (maximal height) in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph (slightly subordinated in the center) and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife (since the woman is to young to be the 84-year-old Hannah of the story, who propagates the news). Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait (including Mantegna).Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his (disputed) first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" ("Er ist sehr alt und ist noch, der best in Gemäl"). At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. (The angel's head Dürer had prepared with a study drawn on the same sheet of Venetian paper as the head of the young Christ, now separated.)The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling sacra conversazione, the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the Mantegna and Bellini of the The tradition of the composition explained?

The conception of a composition with several half-figures (maximal height) in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph (slightly subordinated in the center) and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife (since the woman is to young to be the 84-year-old Hannah of the story, who propagates the news). Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait (including Mantegna).Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his (disputed) first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" ("Er ist sehr alt und ist noch, der best in Gemäl"). At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. (The angel's head Dürer had prepared with a study drawn on the same sheet of Venetian paper as the head of the young Christ, now separated.)The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling sacra conversazione, the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Describe the characteristics of the Mantegna and Bellini in Christ Among the Doctors (Dürer)'s The tradition of the composition.

The conception of a composition with several half-figures (maximal height) in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph (slightly subordinated in the center) and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife (since the woman is to young to be the 84-year-old Hannah of the story, who propagates the news). Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait (including Mantegna).Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his (disputed) first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" ("Er ist sehr alt und ist noch, der best in Gemäl"). At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. (The angel's head Dürer had prepared with a study drawn on the same sheet of Venetian paper as the head of the young Christ, now separated.)The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling sacra conversazione, the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In the context of Christ Among the Doctors (Dürer), explain the Cima daConegliano and Bernardino Luini and the The tradition of the composition.

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers (computus digitalis). The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Explain the Cima daConegliano and Bernardino Luini about the The tradition of the composition of this artwork, Christ Among the Doctors (Dürer).

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers (computus digitalis). The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the Cima daConegliano and Bernardino Luini of the The tradition of the composition explained?

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers (computus digitalis). The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Describe the characteristics of the Cima daConegliano and Bernardino Luini in Christ Among the Doctors (Dürer)'s The tradition of the composition.

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers (computus digitalis). The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Pallas and the Centaur

Prompt: Focus on Pallas and the Centaur and explain the abstract.

Pallas and the Centaur is a painting by the Italian Renaissance painter Sandro Botticelli, c. 1482. It is now in the Uffizi Gallery in Florence.  It has been proposed as a companion piece to his Primavera, though it is a different shape.  The medium used is tempera paints on canvas and its size is 207 x 148 cm.  The painting has been retouched in many places, and these retouchings have faded.The life-size figures are from classical mythology and probably form an allegory.  There is a centaur on the left, and a female figure holding a very elaborate halberd on the right. She is clutching the hair of the centaur, who was evidently about to shoot from his bow. The female figure was called Camilla in the earliest record of the painting, an inventory of 1499, but in an inventory of 1516 she is called Minerva, the Roman equivalent of Pallas Athene; Pallas remains her usual modern identification, but Camilla has supporters. Arthur Frothingham suggested that she is Florencia, the personification of the city of Florence. The fine cloth of her dress is decorated with the Medici's three-ring insignia.A figure specifically originating from Roman mythology, Camilla was a princess raised in the forest by her father, the exiled King Metabus, to be dedicated to Diana as a virgin warrior huntress, for whom subduing a centaur might be considered ordinary. Pallas/Minerva, by contrast, is a major deity, representing wisdom, trade, and more. Centaurs are associated with uncontrolled passion, lust and sensuality. The painting's meaning is clearly at least in part about the submission of passion to chastity and/or reason. Various more specific personal, political and philosophical meanings along these general lines have been proposed.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: Explain the abstract of this artwork, Pallas and the Centaur.

Pallas and the Centaur is a painting by the Italian Renaissance painter Sandro Botticelli, c. 1482. It is now in the Uffizi Gallery in Florence.  It has been proposed as a companion piece to his Primavera, though it is a different shape.  The medium used is tempera paints on canvas and its size is 207 x 148 cm.  The painting has been retouched in many places, and these retouchings have faded.The life-size figures are from classical mythology and probably form an allegory.  There is a centaur on the left, and a female figure holding a very elaborate halberd on the right. She is clutching the hair of the centaur, who was evidently about to shoot from his bow. The female figure was called Camilla in the earliest record of the painting, an inventory of 1499, but in an inventory of 1516 she is called Minerva, the Roman equivalent of Pallas Athene; Pallas remains her usual modern identification, but Camilla has supporters. Arthur Frothingham suggested that she is Florencia, the personification of the city of Florence. The fine cloth of her dress is decorated with the Medici's three-ring insignia.A figure specifically originating from Roman mythology, Camilla was a princess raised in the forest by her father, the exiled King Metabus, to be dedicated to Diana as a virgin warrior huntress, for whom subduing a centaur might be considered ordinary. Pallas/Minerva, by contrast, is a major deity, representing wisdom, trade, and more. Centaurs are associated with uncontrolled passion, lust and sensuality. The painting's meaning is clearly at least in part about the submission of passion to chastity and/or reason. Various more specific personal, political and philosophical meanings along these general lines have been proposed.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: How does Pallas and the Centaur explain its abstract?

Pallas and the Centaur is a painting by the Italian Renaissance painter Sandro Botticelli, c. 1482. It is now in the Uffizi Gallery in Florence.  It has been proposed as a companion piece to his Primavera, though it is a different shape.  The medium used is tempera paints on canvas and its size is 207 x 148 cm.  The painting has been retouched in many places, and these retouchings have faded.The life-size figures are from classical mythology and probably form an allegory.  There is a centaur on the left, and a female figure holding a very elaborate halberd on the right. She is clutching the hair of the centaur, who was evidently about to shoot from his bow. The female figure was called Camilla in the earliest record of the painting, an inventory of 1499, but in an inventory of 1516 she is called Minerva, the Roman equivalent of Pallas Athene; Pallas remains her usual modern identification, but Camilla has supporters. Arthur Frothingham suggested that she is Florencia, the personification of the city of Florence. The fine cloth of her dress is decorated with the Medici's three-ring insignia.A figure specifically originating from Roman mythology, Camilla was a princess raised in the forest by her father, the exiled King Metabus, to be dedicated to Diana as a virgin warrior huntress, for whom subduing a centaur might be considered ordinary. Pallas/Minerva, by contrast, is a major deity, representing wisdom, trade, and more. Centaurs are associated with uncontrolled passion, lust and sensuality. The painting's meaning is clearly at least in part about the submission of passion to chastity and/or reason. Various more specific personal, political and philosophical meanings along these general lines have been proposed.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: In Pallas and the Centaur, how is the abstract discussed?

Pallas and the Centaur is a painting by the Italian Renaissance painter Sandro Botticelli, c. 1482. It is now in the Uffizi Gallery in Florence.  It has been proposed as a companion piece to his Primavera, though it is a different shape.  The medium used is tempera paints on canvas and its size is 207 x 148 cm.  The painting has been retouched in many places, and these retouchings have faded.The life-size figures are from classical mythology and probably form an allegory.  There is a centaur on the left, and a female figure holding a very elaborate halberd on the right. She is clutching the hair of the centaur, who was evidently about to shoot from his bow. The female figure was called Camilla in the earliest record of the painting, an inventory of 1499, but in an inventory of 1516 she is called Minerva, the Roman equivalent of Pallas Athene; Pallas remains her usual modern identification, but Camilla has supporters. Arthur Frothingham suggested that she is Florencia, the personification of the city of Florence. The fine cloth of her dress is decorated with the Medici's three-ring insignia.A figure specifically originating from Roman mythology, Camilla was a princess raised in the forest by her father, the exiled King Metabus, to be dedicated to Diana as a virgin warrior huntress, for whom subduing a centaur might be considered ordinary. Pallas/Minerva, by contrast, is a major deity, representing wisdom, trade, and more. Centaurs are associated with uncontrolled passion, lust and sensuality. The painting's meaning is clearly at least in part about the submission of passion to chastity and/or reason. Various more specific personal, political and philosophical meanings along these general lines have been proposed.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: Focus on Pallas and the Centaur and explain the History.

The painting is usually dated to about 1482 or 1483 on stylistic grounds, soon after Botticelli's return from Rome, where he had been part of the project to paint the Sistine Chapel.  The features of the centaur are close to those of Moses in one of his frescos there.  The painting is often connected with the wedding in 1482 of Lorenzo di Pierfrancesco de' Medici to Semiramide Appiano, perhaps as a wedding gift from Lorenzo de' Medici ("Lorenzo il Magnifico").Given the Medici device on Pallas' dress, it was presumably commissioned by the Medici family, as were many of Botticelli’s paintings, and has passed to the Uffizi with much of their collection.  In 1499 an inventory lists it in the same room as Botticelli's Primavera, in the town palace in Florence of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano".  They were the cousins of Lorenzo de' Medici, de facto ruler of Florence, and after their father's early death had been his wards.  In the later 16th century it hung in the Palazzo Vecchio.  In 1638 it was at the Medici Villa di Castello, as was the Primavera, then it is recorded in the Pitti Palace by about 1830, by which time Botticelli was unfashionable and regarded as mainly of historical interest.The painting was then little-known until it was noticed in 1895 in one of the ante-rooms of the Palazzo Pitti by the English artist, living in Florence, William Blundell Spence.  The painting was in the Uffizi gallery from 1922.  It has perhaps been transferred from panel to canvas.In 2015, this painting among other Botticelli paintings was in an exhibition that opened in Berlin before moving to London. It showed Botticelli’s works and other artists’ versions of his paintings such as his The Birth of Venus.Linda Proud has written an eponymous novel which centres on an account of Botticelli's creation of this painting, and its possible interpretations.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: Explain the History of this artwork, Pallas and the Centaur.

The painting is usually dated to about 1482 or 1483 on stylistic grounds, soon after Botticelli's return from Rome, where he had been part of the project to paint the Sistine Chapel.  The features of the centaur are close to those of Moses in one of his frescos there.  The painting is often connected with the wedding in 1482 of Lorenzo di Pierfrancesco de' Medici to Semiramide Appiano, perhaps as a wedding gift from Lorenzo de' Medici ("Lorenzo il Magnifico").Given the Medici device on Pallas' dress, it was presumably commissioned by the Medici family, as were many of Botticelli’s paintings, and has passed to the Uffizi with much of their collection.  In 1499 an inventory lists it in the same room as Botticelli's Primavera, in the town palace in Florence of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano".  They were the cousins of Lorenzo de' Medici, de facto ruler of Florence, and after their father's early death had been his wards.  In the later 16th century it hung in the Palazzo Vecchio.  In 1638 it was at the Medici Villa di Castello, as was the Primavera, then it is recorded in the Pitti Palace by about 1830, by which time Botticelli was unfashionable and regarded as mainly of historical interest.The painting was then little-known until it was noticed in 1895 in one of the ante-rooms of the Palazzo Pitti by the English artist, living in Florence, William Blundell Spence.  The painting was in the Uffizi gallery from 1922.  It has perhaps been transferred from panel to canvas.In 2015, this painting among other Botticelli paintings was in an exhibition that opened in Berlin before moving to London. It showed Botticelli’s works and other artists’ versions of his paintings such as his The Birth of Venus.Linda Proud has written an eponymous novel which centres on an account of Botticelli's creation of this painting, and its possible interpretations.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: How does Pallas and the Centaur explain its History?

The painting is usually dated to about 1482 or 1483 on stylistic grounds, soon after Botticelli's return from Rome, where he had been part of the project to paint the Sistine Chapel.  The features of the centaur are close to those of Moses in one of his frescos there.  The painting is often connected with the wedding in 1482 of Lorenzo di Pierfrancesco de' Medici to Semiramide Appiano, perhaps as a wedding gift from Lorenzo de' Medici ("Lorenzo il Magnifico").Given the Medici device on Pallas' dress, it was presumably commissioned by the Medici family, as were many of Botticelli’s paintings, and has passed to the Uffizi with much of their collection.  In 1499 an inventory lists it in the same room as Botticelli's Primavera, in the town palace in Florence of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano".  They were the cousins of Lorenzo de' Medici, de facto ruler of Florence, and after their father's early death had been his wards.  In the later 16th century it hung in the Palazzo Vecchio.  In 1638 it was at the Medici Villa di Castello, as was the Primavera, then it is recorded in the Pitti Palace by about 1830, by which time Botticelli was unfashionable and regarded as mainly of historical interest.The painting was then little-known until it was noticed in 1895 in one of the ante-rooms of the Palazzo Pitti by the English artist, living in Florence, William Blundell Spence.  The painting was in the Uffizi gallery from 1922.  It has perhaps been transferred from panel to canvas.In 2015, this painting among other Botticelli paintings was in an exhibition that opened in Berlin before moving to London. It showed Botticelli’s works and other artists’ versions of his paintings such as his The Birth of Venus.Linda Proud has written an eponymous novel which centres on an account of Botticelli's creation of this painting, and its possible interpretations.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: In Pallas and the Centaur, how is the History discussed?

The painting is usually dated to about 1482 or 1483 on stylistic grounds, soon after Botticelli's return from Rome, where he had been part of the project to paint the Sistine Chapel.  The features of the centaur are close to those of Moses in one of his frescos there.  The painting is often connected with the wedding in 1482 of Lorenzo di Pierfrancesco de' Medici to Semiramide Appiano, perhaps as a wedding gift from Lorenzo de' Medici ("Lorenzo il Magnifico").Given the Medici device on Pallas' dress, it was presumably commissioned by the Medici family, as were many of Botticelli’s paintings, and has passed to the Uffizi with much of their collection.  In 1499 an inventory lists it in the same room as Botticelli's Primavera, in the town palace in Florence of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano".  They were the cousins of Lorenzo de' Medici, de facto ruler of Florence, and after their father's early death had been his wards.  In the later 16th century it hung in the Palazzo Vecchio.  In 1638 it was at the Medici Villa di Castello, as was the Primavera, then it is recorded in the Pitti Palace by about 1830, by which time Botticelli was unfashionable and regarded as mainly of historical interest.The painting was then little-known until it was noticed in 1895 in one of the ante-rooms of the Palazzo Pitti by the English artist, living in Florence, William Blundell Spence.  The painting was in the Uffizi gallery from 1922.  It has perhaps been transferred from panel to canvas.In 2015, this painting among other Botticelli paintings was in an exhibition that opened in Berlin before moving to London. It showed Botticelli’s works and other artists’ versions of his paintings such as his The Birth of Venus.Linda Proud has written an eponymous novel which centres on an account of Botticelli's creation of this painting, and its possible interpretations.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: Focus on Pallas and the Centaur and explain the Interpretations.

If given by Lorenzo de' Medici for his cousin's wedding, the two figures may represent the couple, aside from any other interpretations.  The lands of the bride's father, lord of Piombino on the Ligurian coast, and the island of Elba just off it, might be considered as part of Camilla's hunting grounds. The Italian for the balls in the Medici coat of arms is palle, and their supporters were sometimes called palleschi, which adds to the plausibility of political interpretations. Additionally, Pallas wears either olive branches (the tree of Pallas) or laurel sprays, entwined around her head, arms, breasts, and hips, held together by diamant rings similar to those forming the Medici sign; laurel was often used as a reference to the Medici and more specifically as a pun alluding to Lorenzo de' Medici.Pallas is a figure of reason, restraining the beast of our nature – also represented by the centaur – by the hair and looking at it with no fear. This has been connected with Sigmund Freud’s theory of the unconscious, and also to the Renaissance Neo-Platonist Marsilio Ficino's idea of the human soul as part animal and part human.   It has been interpreted as an allegory on the peace after the Pazzi wars.Frothingham posited that Botticelli’s idea for the painting could have come from an image in the Chronography of 354, a Roman calendar by Furius Dionysius Filocalus, the secretary to Pope Damasus I. The calendar depicts the personification of the city of Trier as a female warrior with a spear and shield holding the hair of a male figure with a bow and arrows by his feet. The male is smaller than the female and looks as if he is trying to escape her grasp. The two works are very similar and it is possible Botticelli got his idea for his painting from this image, having seen a copy.John Rigby Hale interprets the work as affirming Lorenzo de' Medici's diplomatic encounter with King Ferdinand I of Naples and subsequent constitutional changes within the Florentine Republic which increased Lorenzo's power. Hale states:Pallas Taming the Centaur—wisdom overcoming a barbarian—symbolized, for 15th Century Florence, the boldness with which their own Lorenzo de' Medici had bested his enemy, the King of Naples, and the wisdom of his peace terms.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: Explain the Interpretations of this artwork, Pallas and the Centaur.

If given by Lorenzo de' Medici for his cousin's wedding, the two figures may represent the couple, aside from any other interpretations.  The lands of the bride's father, lord of Piombino on the Ligurian coast, and the island of Elba just off it, might be considered as part of Camilla's hunting grounds. The Italian for the balls in the Medici coat of arms is palle, and their supporters were sometimes called palleschi, which adds to the plausibility of political interpretations. Additionally, Pallas wears either olive branches (the tree of Pallas) or laurel sprays, entwined around her head, arms, breasts, and hips, held together by diamant rings similar to those forming the Medici sign; laurel was often used as a reference to the Medici and more specifically as a pun alluding to Lorenzo de' Medici.Pallas is a figure of reason, restraining the beast of our nature – also represented by the centaur – by the hair and looking at it with no fear. This has been connected with Sigmund Freud’s theory of the unconscious, and also to the Renaissance Neo-Platonist Marsilio Ficino's idea of the human soul as part animal and part human.   It has been interpreted as an allegory on the peace after the Pazzi wars.Frothingham posited that Botticelli’s idea for the painting could have come from an image in the Chronography of 354, a Roman calendar by Furius Dionysius Filocalus, the secretary to Pope Damasus I. The calendar depicts the personification of the city of Trier as a female warrior with a spear and shield holding the hair of a male figure with a bow and arrows by his feet. The male is smaller than the female and looks as if he is trying to escape her grasp. The two works are very similar and it is possible Botticelli got his idea for his painting from this image, having seen a copy.John Rigby Hale interprets the work as affirming Lorenzo de' Medici's diplomatic encounter with King Ferdinand I of Naples and subsequent constitutional changes within the Florentine Republic which increased Lorenzo's power. Hale states:Pallas Taming the Centaur—wisdom overcoming a barbarian—symbolized, for 15th Century Florence, the boldness with which their own Lorenzo de' Medici had bested his enemy, the King of Naples, and the wisdom of his peace terms.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: How does Pallas and the Centaur explain its Interpretations?

If given by Lorenzo de' Medici for his cousin's wedding, the two figures may represent the couple, aside from any other interpretations.  The lands of the bride's father, lord of Piombino on the Ligurian coast, and the island of Elba just off it, might be considered as part of Camilla's hunting grounds. The Italian for the balls in the Medici coat of arms is palle, and their supporters were sometimes called palleschi, which adds to the plausibility of political interpretations. Additionally, Pallas wears either olive branches (the tree of Pallas) or laurel sprays, entwined around her head, arms, breasts, and hips, held together by diamant rings similar to those forming the Medici sign; laurel was often used as a reference to the Medici and more specifically as a pun alluding to Lorenzo de' Medici.Pallas is a figure of reason, restraining the beast of our nature – also represented by the centaur – by the hair and looking at it with no fear. This has been connected with Sigmund Freud’s theory of the unconscious, and also to the Renaissance Neo-Platonist Marsilio Ficino's idea of the human soul as part animal and part human.   It has been interpreted as an allegory on the peace after the Pazzi wars.Frothingham posited that Botticelli’s idea for the painting could have come from an image in the Chronography of 354, a Roman calendar by Furius Dionysius Filocalus, the secretary to Pope Damasus I. The calendar depicts the personification of the city of Trier as a female warrior with a spear and shield holding the hair of a male figure with a bow and arrows by his feet. The male is smaller than the female and looks as if he is trying to escape her grasp. The two works are very similar and it is possible Botticelli got his idea for his painting from this image, having seen a copy.John Rigby Hale interprets the work as affirming Lorenzo de' Medici's diplomatic encounter with King Ferdinand I of Naples and subsequent constitutional changes within the Florentine Republic which increased Lorenzo's power. Hale states:Pallas Taming the Centaur—wisdom overcoming a barbarian—symbolized, for 15th Century Florence, the boldness with which their own Lorenzo de' Medici had bested his enemy, the King of Naples, and the wisdom of his peace terms.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: In Pallas and the Centaur, how is the Interpretations discussed?

If given by Lorenzo de' Medici for his cousin's wedding, the two figures may represent the couple, aside from any other interpretations.  The lands of the bride's father, lord of Piombino on the Ligurian coast, and the island of Elba just off it, might be considered as part of Camilla's hunting grounds. The Italian for the balls in the Medici coat of arms is palle, and their supporters were sometimes called palleschi, which adds to the plausibility of political interpretations. Additionally, Pallas wears either olive branches (the tree of Pallas) or laurel sprays, entwined around her head, arms, breasts, and hips, held together by diamant rings similar to those forming the Medici sign; laurel was often used as a reference to the Medici and more specifically as a pun alluding to Lorenzo de' Medici.Pallas is a figure of reason, restraining the beast of our nature – also represented by the centaur – by the hair and looking at it with no fear. This has been connected with Sigmund Freud’s theory of the unconscious, and also to the Renaissance Neo-Platonist Marsilio Ficino's idea of the human soul as part animal and part human.   It has been interpreted as an allegory on the peace after the Pazzi wars.Frothingham posited that Botticelli’s idea for the painting could have come from an image in the Chronography of 354, a Roman calendar by Furius Dionysius Filocalus, the secretary to Pope Damasus I. The calendar depicts the personification of the city of Trier as a female warrior with a spear and shield holding the hair of a male figure with a bow and arrows by his feet. The male is smaller than the female and looks as if he is trying to escape her grasp. The two works are very similar and it is possible Botticelli got his idea for his painting from this image, having seen a copy.John Rigby Hale interprets the work as affirming Lorenzo de' Medici's diplomatic encounter with King Ferdinand I of Naples and subsequent constitutional changes within the Florentine Republic which increased Lorenzo's power. Hale states:Pallas Taming the Centaur—wisdom overcoming a barbarian—symbolized, for 15th Century Florence, the boldness with which their own Lorenzo de' Medici had bested his enemy, the King of Naples, and the wisdom of his peace terms.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: Focus on Pallas and the Centaur and explain the Drawings.

There are three drawings in Botticelli's style of Pallas, which may possibly be early ideas for the painting, though none are very close to the final figure, and all seem to be studies for a single standing figure.  In two she carries a large olive branch and holds a helmet.  They are in the Uffizi, the Ashmolean Museum in Oxford, and the Pinacoteca Ambrosiana in Milan.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: Explain the Drawings of this artwork, Pallas and the Centaur.

There are three drawings in Botticelli's style of Pallas, which may possibly be early ideas for the painting, though none are very close to the final figure, and all seem to be studies for a single standing figure.  In two she carries a large olive branch and holds a helmet.  They are in the Uffizi, the Ashmolean Museum in Oxford, and the Pinacoteca Ambrosiana in Milan.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: How does Pallas and the Centaur explain its Drawings?

There are three drawings in Botticelli's style of Pallas, which may possibly be early ideas for the painting, though none are very close to the final figure, and all seem to be studies for a single standing figure.  In two she carries a large olive branch and holds a helmet.  They are in the Uffizi, the Ashmolean Museum in Oxford, and the Pinacoteca Ambrosiana in Milan.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: In Pallas and the Centaur, how is the Drawings discussed?

There are three drawings in Botticelli's style of Pallas, which may possibly be early ideas for the painting, though none are very close to the final figure, and all seem to be studies for a single standing figure.  In two she carries a large olive branch and holds a helmet.  They are in the Uffizi, the Ashmolean Museum in Oxford, and the Pinacoteca Ambrosiana in Milan.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Venus, Cupid, Folly and Time

Prompt: Focus on Venus, Cupid, Folly and Time and explain the abstract.

Venus, Cupid, Folly and Time (also called An Allegory of Venus and Cupid and A Triumph of Venus) is an allegorical painting of about 1545 by the Florentine painter Agnolo Bronzino. It is now in the National Gallery, London. Scholars do not know for certain what the painting depicts.The painting has come to be known as Venus, Cupid, Folly and Time, and it is generally agreed that these are the principal figures (with "Folly" representing this or the personification of a similar concept).  Cupid and Venus kiss in the foreground, while the putto Folly prepares to shower them with rose petals.  The bald Time, at the top, looks on and holds a cloth.  The meaning of the other three figures and the interactions between them all is much less certain.  The painting displays the ambivalence, eroticism, and obscure imagery that are characteristic of the Mannerist period, and of Bronzino's master Pontormo.

category:Allegorical paintings by Italian artists

Category:Paintings in the National Gallery, London

Cosimo I de' Medici, Grand Duke of Tuscany


Venus, Cupid, Folly and Time

Prompt: Explain the abstract of this artwork, Venus, Cupid, Folly and Time.

Venus, Cupid, Folly and Time (also called An Allegory of Venus and Cupid and A Triumph of Venus) is an allegorical painting of about 1545 by the Florentine painter Agnolo Bronzino. It is now in the National Gallery, London. Scholars do not know for certain what the painting depicts.The painting has come to be known as Venus, Cupid, Folly and Time, and it is generally agreed that these are the principal figures (with "Folly" representing this or the personification of a similar concept).  Cupid and Venus kiss in the foreground, while the putto Folly prepares to shower them with rose petals.  The bald Time, at the top, looks on and holds a cloth.  The meaning of the other three figures and the interactions between them all is much less certain.  The painting displays the ambivalence, eroticism, and obscure imagery that are characteristic of the Mannerist period, and of Bronzino's master Pontormo.

category:Allegorical paintings by Italian artists

Category:Paintings in the National Gallery, London

Cosimo I de' Medici, Grand Duke of Tuscany


Venus, Cupid, Folly and Time

Prompt: How does Venus, Cupid, Folly and Time explain its abstract?

Venus, Cupid, Folly and Time (also called An Allegory of Venus and Cupid and A Triumph of Venus) is an allegorical painting of about 1545 by the Florentine painter Agnolo Bronzino. It is now in the National Gallery, London. Scholars do not know for certain what the painting depicts.The painting has come to be known as Venus, Cupid, Folly and Time, and it is generally agreed that these are the principal figures (with "Folly" representing this or the personification of a similar concept).  Cupid and Venus kiss in the foreground, while the putto Folly prepares to shower them with rose petals.  The bald Time, at the top, looks on and holds a cloth.  The meaning of the other three figures and the interactions between them all is much less certain.  The painting displays the ambivalence, eroticism, and obscure imagery that are characteristic of the Mannerist period, and of Bronzino's master Pontormo.

category:Allegorical paintings by Italian artists

Category:Paintings in the National Gallery, London

Cosimo I de' Medici, Grand Duke of Tuscany


Venus, Cupid, Folly and Time

Prompt: In Venus, Cupid, Folly and Time, how is the abstract discussed?

Venus, Cupid, Folly and Time (also called An Allegory of Venus and Cupid and A Triumph of Venus) is an allegorical painting of about 1545 by the Florentine painter Agnolo Bronzino. It is now in the National Gallery, London. Scholars do not know for certain what the painting depicts.The painting has come to be known as Venus, Cupid, Folly and Time, and it is generally agreed that these are the principal figures (with "Folly" representing this or the personification of a similar concept).  Cupid and Venus kiss in the foreground, while the putto Folly prepares to shower them with rose petals.  The bald Time, at the top, looks on and holds a cloth.  The meaning of the other three figures and the interactions between them all is much less certain.  The painting displays the ambivalence, eroticism, and obscure imagery that are characteristic of the Mannerist period, and of Bronzino's master Pontormo.

category:Allegorical paintings by Italian artists

Category:Paintings in the National Gallery, London

Cosimo I de' Medici, Grand Duke of Tuscany


Venus, Cupid, Folly and Time

Prompt: Focus on Venus, Cupid, Folly and Time and explain the Painting.

The painting may have been commissioned by Cosimo I de' Medici, Grand Duke of Tuscany or by Francesco Salviati, to be presented by him as a gift to Francis I of France. Vasari wrote that a Bronzino painting, probably this one, was sent to King Francis, though he does not specify by whom: "He made a picture of singular beauty, which was sent to King Francis in France; in which was a nude Venus with Cupid kissing her, and on one side Pleasure and Play with other Loves; and on the other, Fraud, Jealousy, and other passions of love" (so not mentioning Time).The erotic imagery would have appealed to the tastes prevalent in both the Medici and French courts at this time. The attention to texture and wealth is also consistent with Bronzino's aristocratic patronage. The painting was brought by Napoleon from Paris to Vienna, where in 1813, Johann Keglević gained possession of the painting from Franz Wenzel, Graf von Kaunitz-Rietberg. Since 1860 it has been in London.The figure of Venus can be likened to a precious object (such as a marble statue) in a luxurious setting, desirable because of her unavailability. In this large, unusually cold composition, which is deliberately constructed on a counterpoint of opposing movements, the finest work is in the treatment of the faces. Bronzino, known above all as a portrait painter, painted several carefully drawn portraits of the Medici family.

category:Allegorical paintings by Italian artists

Category:Paintings in the National Gallery, London